ART  AND  EDUCATION 
N  WOOD -TURNING 


ornia 
lal 

y 


WILLIAM  W  KLENKE 


ART  AND  EDUCATION 

'IN         '     ; 

WOOD-TURNING 


A  TEXTBOOK  AND  PROBLEM  BOOK 
FOR  THE  USE  OF  STUDENTS 


BY 
WILLIAM  W.  KLENKE 

INSTRUCTOR    IN   WOODWORKING   AND   ARCHITECTURAL  DRAWING, 

CENTRAL  COMMERCIAL  AND  MANUAL  TRAINING 

HIGH  SCHOOL,  NEWARK,  NEW  JERSEY 


THE   MANUAL  ARTS   PRESS 

PEORIA,  ILLINOIS 


COPYRIGHT,  1921 
WILLIAM  W.  KLENKE 


To  MY  WIFE 
EDITH  ELIZABETH 


2065925 


FOREWORD 

THIS  book  is  intended  primarily  for  the  use  of  students  in 
normal  schools,  high  schools,  colleges  or  similar  institutions 
and  for  lovers  of  all  things  useful  and  beautiful  in  wood-turning. 
It  aims  by  means  of  text  and  illustrations  to  give  such  facts  about 
the  art  of  wood-turning  as  are  needed  by  students  and  teachers  in 
the  schools.  In  giving  these  facts,  whenever  there  is  a  question 
between  two  methods  of  procedure,  the  one  being  the  method  of  the 
factor}'  expert  in  wood-turning,  and  the  other  the  method  of  the 
art  craftsman  in  the  school,  the  latter  has  been  employed.  As  a 
result  it  is  sometimes  true  that  a  less  direct  method  is  recommended 
than  is  employed  by  the  commercial  turner,  but  this  is  justified  on 
the  ground  of  the  purpose  of  the  book,  which  is  fundamentally 
educational. 

Besides  being  a  book  of  instruction  on  the  process  of  wood- 
turning,  it  is  a  book  of  problems,  in  the  designing  of  which  the 
author  has  constantly  aimed  to  recognize  beauty  of  form.  As  in- 
dicated by  the  title  of  the  book,  the  author's  chief  purpose  has  been 
to  make  a  contribution  to  the  teaching  of  art  and  to  education, 
thru  the  fine  old  craft  of  wood-turning. 

Acknowledgments  are  hereby  given  to  my  wife  for  her  untiring 
assistance  in  compiling  the  text  of  the  book. 

I  gratefully  acknowledge,  also,  the  willing  attitude  of  my 
students  in  helping  to  work  out  the  models,  in  posing  for  the 
photographic  illustrations  and  in  co-operating  in  the  working  out  of  a 
higher  type  of  wood-turning.  For  the  working  out  of  the  tea  wagon 
wheel,  acknowledgment  is  made  to  Samuel  E.  Wardell  of  the 
Central  High  School,  Newark,  N.  J. 

Acknowledgment  is  made  to  Charles  F.  Moore,  head  of  my  de- 
partment, for  his  helpful  attitude. 


CONTENTS 

PAGE 

THE  SHOP n 

TOOLS  AND  EQUIPMENT n 

GRINDING  AND  SHARPENING 14 

STARTING  SPINDLE  WORK 17 

ROUGHING  WITH  A  GOUGE 19 

THE  PARTING  TOOL  AND  CALIPERS 20 

THE  SKEW  USED  FOR  SMOOTHING  CYLINDERS 22 

THE  SKEW  CHISEL  FOR  V's  AND  BEADS 24 

THE  GOUGE  USED  FOR  TURNING  COVES 27 

DESIGN 27 

THE  DARNING  BALL 29 

SANDPAPERING 30 

FINISHING 33 

THE  POTATO  MASHER 36 

INDIAN  CLUBS 38 

DUMB-BELLS 38 

SCREWDRIVER  HANDLES 40 

THE  MALLET • 44 

GAVELS 47 

THE  ROLLING  PIN 50 

BOWLS 54 

THE  NAPKIN  RING 60 

PICTURE  FRAMES 68 

BOXES 68 

COMBINATION  TURNING — CANDLESTICKS 70 

LAMP  STANDARD 76 

LATHE  BORING 76 

SEGMENT  WORK    .    .  ' 78 

SERVING  TRAY 82 

COLLAR  Box 84 

BUTTON  Box      84 

CHEESE  AND  CRACKER  DISH 86 

SEWING  SET 86 

NUT  SET 86 

7 


8  CONTENTS 

PAGE 

CLOCK  CASING 

THE  TEA  WAGON  WHEEL 92 

CROQUET  SET 94 

LONG-PIECE  TURNING  —  THE  FOUR-POST  BED 98 

THE  FLOOR  LAMP ....  98 

WOODS  USED  IN  TURNING     .102 

DON'TS I03 

SHOP  DISCIPLINE I04 

THE  EXHIBIT.                                IQ6 


LIST   OF   PLATES 


PLATE  PAGE 

I.  SHOULDERS,  V's  AND  BEADS,  COVES 25 

II.  DARNING  BALL 31 

III.  POTATO  MASHER.    .' ........ 37 

IV.  INDIAN  CLUB 39 

V.  DUMB  BELL , 41 

VI.  SCREWDRIVER  HANDLES 42 

VII.  TURNING  TOOL  HANDLES     43 

VIII.  MALLET 45 

IX.  GAVEL 48 

X.  GAVEL      49 

XI.  ROLLING  PIN 52 

XII.  UMBRELLA  HANDLES 53 

XIII.  NUT  SETS 55 

XIV.  DRAWER  KNOBS  AND  CASTER  CUP    ....'....  57 
XV.  MATCH  Box  HOLDER 58 

XVI.  BATH  ROOM  STOOL 59 

XVII.  NAPKIN  RINGS 61 

XVIII.  DRAWING  SET 64 

XIX.  BREAD  BOARD      65 

XX.  TEA  POT  STANDS 66 

XXI.  TRAY  AND  FRAME  MOULDINGS    .    . .  67 

XXII.  BOXES 69 

XXIII.  GIRL'S  DRESSER  SET 71 

XXIV.  CANDLESTICK 73 

XXV.  CANDLESTICK 74 

XXVI.  ELECTROLIER  OR  CANDLESTICK 75 

XXVII.  LAMP  STANDARD 77 

XXVIII.  FLOWER  HOLDER     .    ., 79 

XXIX.  SMOKING  STAND 81 

XXX.  COLLAR  AND  BUTTON  Box 83 

XXXI.  CHEESE  AND  CRACKER  DISH 85 

XXXII.  SEWING  SET.    .    : 87 

XXXIII.  NUT  BOWL 89 

XXXIV.  CLOCK  CASING 90 

XXXV.  TEA  WAGON  WHEEL 91 

XXXVI.  CROQUET  SET 93 

XXXVII.  FOUR  POST  BED  99 

XXXVIII.  FLOOR  LAMP 100 

XXXIX.  FLOOR  LAMP                                                                 .  101 


THE  SHOP 

Fig.  i  shows  the  plan  of  a  shop  similar  to  one  in  use  at  the 
Central  High  School,  Newark,  N.  J.  The  shop  should  be  equipped 
with  both  benches  and  lathes  so  that  it  may  serve  a  three-fold  pur- 
pose— that  of  (a)  wood-turning,  (b)  pattern  making,  and  (c)  joinery. 
The  position  of  the  lathes  and  benches  in  relation  to  the  light  is 
good,  the  light  shining  into  the  cone  pulley.  The  distance  between 
benches  and  lathes  has  been  tried  out,  and  should  not  be  reduced. 

The  type  of  lathe  to  purchase  will  not  be  discussed  further  than 
to  mention  the  author's  preference  for  the  style  of  lathe  having 
the  large  step  of  the  cone  pulley  to  the  outside,  and  the  adjustments 
for  holding  the  tee- rest  and  tail-stock  worked  with  a  hand  wheel 
rather  than  a  cam. 

The  band-saw,  grinder  and  trimmer  are  almost  indispensable 
in  a  well-ordered  shop.  A  small  drill  press  and  6  "  jointer  save  time, 
and  make  for  accurate  work.  A  small  circular  saw  also  is  a  fine 
addition  to  the  shop. 

The  floor  of  all  shops  should  be  of  maple — no  cement  floor  being 
practical,  as,  in  the  first  place,  many  tools  are  broken  when  dropped 
on  the  floor,  and  secondly,  standing  on  a  cement  floor  is  harmful 
to  the  worker. 

Lastly,  allow  plenty  of  light  and  air  to  enter;  increase  the  num- 
ber of  windows  indicated  on  the  plan  if  the  layout  permits.  The 
northern  exposure  is  to  be  preferred. 

TOOLS  AND  EQUIPMENT 

Having  decided  upon  the  type  of  lathe  to  be  used,  the  next  step 
is  the  general  arrangement  of  the  shop  equipment. 

Fig.  i  shows  the  position  of  the  lathes  and  benches,  so  as  to  get 
the  maximum  amount  of  light  at  each  lathe,  to  allow  ample  room 
for  the  student  to  work  and  pass  about  the  room,  to  have  the 
grindstone  and  band-saw  handy,  and  yet  not  waste  any  floor  space. 

ii 


12  ART   AND   EDUCATION   IN   WOOD-TURNING 


PL/<MS  ^TttE:   5/AOP'      -NOTE. 
At>t 
END 


Fig. 


TOOLS   AND   EQUIPMENT 


It  is  poor  economy  to  equip  a  room  with  lathes  alone,  as  such 
an  arrangement  can  only  be  used  as  a  wood-turning  shop,  whereas 
the  plan  suggested  makes  the  room  suitable  for  pattern  making 
and  joinery  as  well,  or  a  combination  of  "any  of  the  two. 


t 


Fig.  2. 

Each  lathe  should  be  equipped  with: 


6"  outside  calipers,  Fig.  3,  c. 
6"  inside  calipers,  Fig.  3,  d. 
India  oil  stone  slip,  Fig.  3,  f. 
Copper  oil  can. 


'  gouge,  Fig.  2,  a. 

i "  gouge. 

'  skew  chisel,  Fig.  2,  b. 

i "  skew  chisel. 

>"  parting  tool,  Fig.  2,  c. 

The  bench  should  be  equipped  with  the  ordinary  joinery  tools 
The  special  tool  rack  should  contain  the  following: 

i  doz.  1A"  socket  chisels,  Fig.  3,  a. 

i  doz.  y^,"  flat  scrapers,  Fig.  2,  d. 

l/2  doz.  y^"  flat  scrapers. 

i  doz.  i "  flat  scrapers. 

/2  doz.  y^"  right-hand  skew  scrapers ,  Fig.  2,  e. 

/2  doz.  y^"  left-hand  skew  scrapers,  Fig.  2,  f. 

/2  doz.  y^"  left-hand  skew  scrapers. 

/z  doz.  y\"  right-hand  skew  scrapers. 

X  doz.  }4."  round-nose  scrapers,  Fig.  2,  g. 


ART  AND  EDUCATION  IN  WOOD-TURNING 

]/2  doz.  W  round-nose  scrapers. 

%  doz.  X"  diamond-point  scrapers,  Fig.  2,  h. 

#  doz.  6"  dividers,  Fig.  3,  e. 

%  doz.  9"  cabinet  files. 

2  file  cards. 

^2  doz.  9"  screwdrivers. 

i  set  auger  bits. 

1  set  from  No.  5  to  No.  12  twist  drills. 

2  Millers  Falls  Hand  drills,  No.  i. 

2  turner's  sizers  (outside),  Fig.  3,  b. 
i  pair  of  large  calipers. 


A  staining  and  gluing  bench  is  provided,  with  the  necessary 
shelves  for  stains,  shellacs,  alcohol,  fillers,  turpentine,  kerosene  oil, 
sandpaper,  waste,  glue,  handscrews,  etc. 


GRINDING  AND  SHARPENING 

Generally  speaking,  turning  tools  may  be  divided  into  three 
groups,  (a)  the  roughing-off  tools,  (the  gouge),  (b)  the  smoothing 
or  cleaning-up  tools,  (the  skew),  and  (c)  the  scraping  tools,  (the 


GRINDING   AND   SHARPENING 


flat  skew,  round-nose,  diamond-point  and  other  specially  shaped 
tools  used  for  scraping). 

The  grinding  of  all  the  above  named  tools  is  about  the  same, 
only  differing  in  a  few  details.   In  every  case  the  grindstone  should 


J 


Fig.  4. 

revolve  towards  the  operator,  Fig.  4.  The  tool  to  be  ground  is 
held  low  at  the  start,  and  gradually  raised  to  a  position  so  that  the 
bevel  will  lie  flat  on  the  stone.  This  angle  is  then  maintained 
thruout  the  grinding.  In  the  case  of  the  gouge,  since  the  tool  is 


Fig.  5.   Whetting  a  Gouge. 

convex  on  the  outside  (and  the  bevel  is  on  the  outside),  it  will  be 
necessary  to  roll  the  tool,  and  at  the  same  time  work  it  from  one 
side  of  the  stone  to  the  other.  The  rolling  motion  makes  it  possible 
to  grind  all  parts,  and  working  it  from  side  to  side,  prevents  the 
wearing  of  a  hollow  in  the  stone. 


i6 


ART  AND   EDUCATION  IN   WOOD-TURNING 


To  whet  a  gouge,  the  oilstone  slip,  Fig.  3,  is  used.   Hold  the  slip 
in  the  right  hand  and  the  gouge  in  the  left  hand,  Fig.  5.  Two  move- 
ments are  necessary — one  to  work  the  stone 
back  and  forth,  the  other  to  roll  the  gouge 
from  side  to  side.    After  some  time,  a  burr 


J 


Fig.  7. 

will  be  seen  to  form.    To  remove  this  burr, 
rub  the  slip  on  that  side  several  times,  then 
repeat  the  entire  whetting  operation   until 
the  gouge  has  been  properly  sharpened. 
The  grinding  of  the  skew  is  somewhat  different  from  that  of  the 
other  tools,  in  that  this  tool  has  a  bevel  on  both  sides,  and  the 
cutting  is  not  at  right  angles  to  the  sides.   Fig.  6  illustrates  the  cor- 


Fig.  6. 


8.   Whetting  a  Skew  Chisel. 

rect  position  of  the  skew  while  being  ground;  i.e.  the  cutting  edge 
is  kept  parallel  with  the  top  of  the  stone.  In  whetting  the  skew  the 
same  principle  is  carried  out,  Figs.  7  and  8. 

All  scraping  tools  are  ground  only  on  one  side.    The  foregoing 
instructions  hold  good  for  the  grinding,  but  not  for  whetting.   Since 


GRINDING  AND   SHARPENING 


the  function  of  a  scraper  is  to  scrape  and  not  to  cut,  it  will  be 
necessary  to  let  the  burr  remain  on  the  tool.  This  burr  works  as  the 
burr  on  a  cabinet  or  floor  scraper. 

If  properly  sharpened,  with  this  burr,  it  is  possible  to  work 
the  wood  down  clean  and  quickly  with  any  scraping  tool. 


AD=  i  THICKNESS  Of-  BLOCK 


Fig.  9. 


STARTING  SPINDLE  WORK 

In  order  to  get  the  most  out  of  the  stock  given,  and  also  to 
lessen  vibration  at  the  lathe,  it  is  essential  that  one  learn  how 
to  locate  the  center  of  the  wood  to  be  turned. 

Fig.  9,1  illustrates  a  very  simple  and  most  commonly  used 
method  for  locating  the  center.  If  the  ends  of  the  stock  are  square 
or  nearly  so,  we  know  from  geometry  that  the  diagonals  of  the 
square  bisect  each  other  at  the  center. 

Any  straight  edge  will  do  for  drawing  the  diagonals.  Stand  the 
wood  on  one  of  its  ends  and  with  the  aid  of  a  rule  and  pencil  draw 
the  required  lines.  The  bed  of  the  lathe  or  top  of  the  tee-rest 
can  be  used  to  butt  the  wood  against,  to  save  looking  for  and  hand- 
ling a  straight-edge. 

Fig.  9,2  illustrates  a  method  used  on  wood  that  is  much  out  of 
square.  Set  a  pair  of  dividers  either  a  little  greater  or  a  little  less 
than  half  the  thickness  of  the  wood,  and,  holding  the  block  on 
something  flat,  scribe  the  four  lines  from  the  different  sides.  The 
center  can  thus  be  readily  located.  Instead  of  the  dividers  a  parallel 
block  or  marking  gauge  can  be  used  to  obtain  the  same  result. 


i8 


ART  AND   EDUCATION  IN  WOOD-TURNING 


Fig.  9,3  illustrates  a  rough  piece  of  wood  with  no  true  shape.  In 
order  to  get  the  desired  diameter  out  of  this  stock  it  is  necessary  to 
draw  the  largest  possible  circle  at  each  end. 

In  commercial  turning,  these  methods  are  not  generally  used. 
The  turner  makes  a  guess  at  the  center,  starts  the  wood  in  motion 


-TO  LOCATE  A  LOST  CENTER- 


Fig.  ii. 


Fig.  10. 


(by  hand)  and  gently  puts  his  gouge  in  contact  with  the  wood, 
whereupon  only  the  high  corners  will  be  hit.  By  lowering  the  wood 
with  a  tap  or  two  of  his  mallet,  hit  on  the  high  side,  the  wood  is 
accurately  centered.  It  must  be  understood,  however,  that  the 
guess  must  be  a  good  one,  and  this  only  comes  with  practice. 

When  a  large  number  of  pieces  are  to  be  turned,  especially 
those  of  large  dimensions,  the  turner  often  cuts  a  block  as  illus- 
trated in  Fig.  9,4,  the  distance  AB  being  equal  to  exactly  one-half 
the  thickness  of  the  stock.  By  using  this  as  a  gage  and  drawing  two 
lines  from  adjacent  sides,  the  center  is  accurately  and  quickly 
located. 

The  center  having  been  found,  the  next  step  is  to  place  the 
wood  in  the  lathe.  With  the  aid  of  the  ramrod,  drive  out  the  live 
center  of  the  lathe,  then  drive  this  center  into  one  end  of  the  wood 
(the  end  upon  which  the  largest  amount  of  turning  is  to  be  done). 
A  mark,  x,  should  be  filed  on  one  of  the  blades  of  the  live  center,  and 
a  corresponding  mark  put  on  the  part  of  the  wood  this  blade  is  to 
enter  in  order  to  indicate  which  blade  was  at  that  place.  This  is 
done  so  that  the  work  may  be  removed  and  put  back  without  shifting 
the  center. 


STARTING    SPINDLE    WORK 


Place  the  live  center  and  wood  in  the  lathe,  holding  the  latter 
with  the  left  hand.  With  the  right  hand,  turn  the  spindle  of  the 
tailstock  out  about  i  ",  and  then  move  the  tails tock  up  to  the  work 
so  that  the  dead  center  just  comes  in  contact  with  the  wood;  then 
clamp  the  tailstock  in  place.  Next,  the  dead  center  is  forced  into 
the  wood  by  turning  the  spindle  screw.  At  this  point  a  drop  or  two 
of  oil  placed  on  the  dead  center  where  it  comes  in  contact  with  the 
wood  will  ease  the  friction  caused  by  the  revolutions  of  the  wood 
against  the  dead  center.  Now  clamp  the  spindle  securely  to  pre- 
vent it  from  working  back  while  the  piece  of  wood  revolves. 

Turn  the  wood  so  that  one  of  the  end  diagonals  will  be  hori- 
zontal, then  move  the  tee-rest  as  close  as  possible  to  the  work, 
having  the  top  on  a  line  with  the 
edge  of  the  wood,  Fig.  n.  Clamp 
the  tee-rest  in  place.  The  height  at 
which  the  tee-rest  should  be  placed 
should  be  determined  solely  for  the 
comfort  of  the  student  or  worker. 

Before  starting  to  turn,  try  the 
various  adjustments  to  make  certain 
that  all  are  secure,  and  revolve  the 
wood  by  hand  to  make  sure  that  it 
clears  the  tee-rest. 

ROUGHING  WITH  A  GOUGE 

Fig.  12  illustrates  a  good  posi- 
tion at  the  lathe.  Put  the  weight  of 
the  body  on  the  left  foot;  place  the 
right  foot  one  step  forward.  In  this 
position  the  operator  has  freedom 
of  motion  to  rock  back  and  forth, 
thus  obtaining  the  flexibility  neces- 
sary at  the  lathe.  Fig- I2-  Position  at  the  Lathe- 

The  left  hand  should  slide  along  the  tee-rest,  gripping  the  tool 
as  illustrated,  Fig.  13.  The  right  hand  is  held  near  the  end  of  the 
handle  and  is  kept  against  the  hip  bone. 


20  ART   AND   EDUCATION   IN  WOOD-TURNING 

When  possible  work  from  the  center  out,  to  avoid  hitting  the 
corners  and  splitting  the  entire  piece. 

The  gouge,  you 
will  notice,  Fig.  14, 
is  tilted  slightly  so 
as  to  throw  the 
shavings  away  from 
the  face  of  the  oper- 
ator. In  order  to 
cut  a  shaving,  care 
must  be  taken  to 
hold  the  handle  of 
the  gouge  low,  Fig. 

Fig.  13.    Holding  a  Gouge.  J3    and    14;    if   held 

horizontally  a 
scraping  cut  will  result,  which  will  tear  the  fibres  of  the  wood. 


THE  PARTING  TOOL  AND  CALIPERS 

In  order  that  the  wood-turner  may  have  some  quick  and  efficient 
method  for  obtaining  a  desired  diameter,  he  resorts  to  the  use  of  a 
parting  tool  and  a  pair  of  calipers,  Fig.  15.  Where,  however,  a 
number  of  pieces  with  the  same  diameter  are  to  be  turned,  he  often 
uses  a  combination  of  these  tools,  known  as  a  turner's  sizer,  Fig.  3,b. 
If  he  has  a  sufficiently  large  number  of  articles  to  turn,  each  with 
several  different  diameters,  it  would  be  folly  for  him  to  set  three  or 
four  turner's  sizers,  as  this  would  necessitate  handling  too  many 


THE   PARTING  TOOL  AND    CALIPERS 


tools,  and  again  there  would  be  difficulty  in  keeping  track  of  the 
diameter  of  each.  Where  such  a  problem  confronts  him,  he  works  out 

accurate  gages, 
Fig.  1 6,  with  the 
diameters  placed 
in  the  order  he 
intends  using 
them. 

Fig.  15  illus- 
trates the  cor- 
rect method  for 
using  the  cal- 
ipers and  parting 
tool.  Both  are 

Fig.  15.   Using  the  Perting  Tool  and  Calipers  at  one  Time.        worked     at    one 

time,  the  calipers  being  held  at  right  angles  to  the  axis  and  resting 
gently  in  the  groove  cut  by  the  parting  tool,  which  is  held  high  on 
the  work  and  grad- 
ually lowered  to- 
ward the  center  as 
the  cut  is  being 
made.  When  the 
diameter,  at  which 
the  calipers  are  set, 
has  been  cut,  the 
calipers  will  drop. 

In  order  that  the 
calipers  may  work 
freely,  it  is  advis- 
able to  round  the 
ends  with  a  file, 
otherwise  there  is 
danger  of  them 


•TO  TURN  A  NUMBtfc  OP  MANDLE5- 


Fig.  i 6. 


catching  in  the  fiber  of  the  wood,  and  being  thrown  some  distance. 

To  use  the  turner's  sizer,  it  will  first  be  necessary  to  have  the 

work  reasonably  near  the  desired  diameter,  otherwise  the  tool  can- 


22  ART   AND   EDUCATION   IN   WOOD-TURNING 

not  be  used.  The  use  of  this  tool  is  similar  to  that  of  a  parting  tool 
in  its  cutting  stroke,  only  it  will  be  necessary  to  pull  slightly  on  the 
handle  so  as  to  keep  the  caliper  end  in  perfect  contact  with  the 
cylinder. 

The  use  of  the  gage  is  almost  the  same  as  that  of  the  calipers. 


Fig.  17.    Setting  Calipers  over  a  Mandrel. 

To  set  the  calipers  quickly  and  accurately  it  is  a  good  idea  to 
use  a  cylinder  of  known  diameter  and  set  the  calipers  to  fit  that, 
as  indicated  in  Fig.  17. 


THE  SKEW  USED  FOR  SMOOTHING  CYLINDERS 

Place  the  skew  high  up  on  the  wood  and  draw  downward, 
gradually,  lifting  on  the  handle,  until  the  bevel  clears  the  wood, 
allowing  the  tool  to  cut.  Always  keep  the  toe  above  the  wood. 
Fig.  1 8,  cutting  with  the  center  and  lower  part  of  the  cutting  edge. 
A  great  many  turners  work  entirely  with  the  toe  forward,  keeping 
the  heel  clear,  but  the  author  prefers  working  with  the  toe  free, 
altho  both  ways  give  good  results. 

The  height  at  which  the  handle  of  the  skew  is  held  must  be 
governed  by  the  bevel,  Fig.  18.  If  held  too  high,  the  cut  will  be  in 
ridges;  and  on  the  other  hand,  if  held  too  low,  the  tool  will  not  cut. 


THE   SKEW    USED    FOR    SMOOTHING   CYLINDERS 


When  cutting  shoulders,  part  to  the  desired  diameter  first, 
rough  off  the  wood  with  a  small  gouge,  make  the  vertical  cut  with 
the  toe,  Fig.  19,  No.  i,  then  clean  out  the  shoulders  with  the  heel, 
Fig.  19,  No.  2.  The  consecutive  steps  for  Problem  No.  i,  Plate  I, 
shoulders,  are  illustrated  in  Fig.  20. 


N61 


Fig.  K;. 

With  all  spindle  turning  always  (a)  turn  to  the  large  diameter, 
(b)  cut  to  length,  and  (c)  lay  out  the  job  with  a  sharp  pencil  and  rule. 

Before  working  exercise  No.  i,  the  student  should  practice  on 
a  scrap  piece  of  wood,  (a)  turning  a  straight  cylinder  with  the 
large  gouge,  (b)  parting  to  different  diameters  with  the  parting 
tool  and  calipers,  and  (c)  smoothing  cylinders  with  the  skew  chisel. 

Almost  any  soft  wood  works  well  for  the  first  three  exercises, 
altho  the  author  prefers  using  white  wood.  The  rough  stock  for 
all  three  exercises  should  be  2"x2"x9^". 

Fig.  20,  a  photographic  reproduction  of  a  model  board  in  use 
in  the  author's  classes,  has  been  invaluable  to  the  beginners  in 
working  out  exercise  No.  i.  Besides  this  board,  the  student  works 
from  a  blue  print,  Plate  I,  and  is  given  a  class  demonstration. 


ART   AND   EDUCATION   IN   WOOD-TURNING 


It  is  never  advisable  to  cut  the  work  free  in  the  lathe,  if  the 
best  results  are  to  be  obtained,  as  the  waste  wood  often  breaks  in 

the  wrong  place,  taking  more  wood 
with  it  than  is  desired.  It  is  there- 
fore advisable  to  cut  to  about  the 
size  of  a  lead  pencil,  then  remove 
the  work  from  the  lathe,  and  do 
the  final  cutting  off  with  a  sloyd 
knife.  Even  at  this  point,  great 
care  must  be  taken  to  use  a  sharp 
knife  and  try  not  to  cut  too  rap- 
idly. 

It  must  be  remembered,  since 
the  driving  power  is  at  the  live 
center  end,  that  this  end  should 
be  weakened  last,  and  never  cut 
quite  as  small  as  the  dead  center  end. 


THE   SKEW   CHISEL   FOR  V'S 
AND  BEADS 


CUT  TO 
UENGTM 


S/AALL-5KEW 

FOB 

o/rriNG 


Fig.  20.    Model  Board  for  the  ist 
Exercise. 


Having  indicated,  with  a  light 
pencil  line,  the  location  and  width 
of  the  V,  hold  the  YZ"  skew  at  the  proper  angle  (that  of  the 
V)  and  with  a  slicing  motion,  using  only  the  very  point  of  heel  or 
toe  of  the  tool,  lift  on  the  handle,  thus  making  one  side  of  the  cut, 
Fig.  21. 

The  other  side  is  cut  out  in  like  manner.  Notice  that  the 
tool  is  held  high  at  the  cutting  edge  when  starting,  and  lowered 
in  the  direction  of  the  axis  when  finishing.  Some  turners  prefer  to 
use  the  toe,  while  others  find  that  the  heel  works  a  little  easier. 
Either  way  is  correct,  and  both  work  well,  altho  a  very  deep, 
narrow  V  is  better  made  by  using  the  toe. 

The  first  steps  in  turning  a  bead  are  identical  with  those  of 
the  V,  since  V's  are  cut  on  either  side  of  the  bead,  Fig.  22,  to  give 
clearance  when  making  the  final  cuts. 


SHOULDERS,  V'S  AND  BEADS,  COVES         25 


WOOD  -TURNING  PROBLEMS 
5flOVLDEBS 


u* 

IT 

,  i 

T 

1 

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2  

A' 

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^MrMrMridL  3 

•  /*  fl   16  Z    16  2 


4-  a  4   2    4 


COVES 

^ 


a 


NOTE 

ENDVIEW5  WILL  ONLY 
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ARE:  RCX/ND  IN  SECTION 


Plate  I. 


26  ART  AND   EDUCATION  IN  WOOD-TURNING 

To  roll  the  bead,  as  it  is  sometimes  called,  start  with  the  W 
skew  held  at  right  angles  to  the  axis,  the  cutting  edge  high  and  the 
tool  flat  upon  the  tee-rest,  Fig.  22. 


The  point  of  the  heel  does  all  the  cutting,  and  must  therefore 
be  very  sharp  in  order  to  cut  clean  and  with  ease.  Pivot  the  skew 
over  from  a  horizontal  to  a  vertical  position,  lowering  the  cutting 
edge  gradually,  and  lifting  on  the  handle,  at  the  same  time  swinging 


Fig.  22. 

a  little  to  one  side.  This  completes  one  side,  provided  the  cut  is 
deep  enough  and  of  the  proper  curvature.  The  other  side  is  turned 
in  like  manner. 

It  is  a  good  idea  for  beginners,  in  order  to  insure  symmetry,  and 
to  hold  to  the  correct  diameter,  to  mark  a  light  pencil  line  on  the 
center  of  each  bead  and  cut  to  just  a  hair's  breadth  each  side  of  this 
line. 


THE    GOUGE    USED    FOR   TURNING   COVES 


27 


The  cove  is  generally  recognized  by  turners  to  be  the  most 
difficult  form  to  cut,  and  to  some  extent  this  difficulty  is  due 
to  the  fact  that  the  gouge  is  the  most  difficult  turning  tool  to 
sharpen  properly. 


Fig.  23. 

Fig.  23  illustrates  the  successive  steps  taken  in  turning  a  cove. 
The  gouge .  in  turning  a  cove  makes  three  distinct  movements : 
(a)  rolling  from  a  vertical  to  a  horizontal  position;  (b)  the  handle  is 
pried  outward,  forcing  the  cutting  edge  into  the  center;  (c)  the 
handle  is  held  high  when  starting  and  lowered  when  finishing. 

It  must  be  remembered  that  the  cutting  stroke  each  time  stops 
in  the  center  of  the  cove,  and  the  gouge  should  not  be  worked  up 
on  the  other  side;  otherwise  the  fibers  of  the  wood  will  be  torn, 
leaving  the  cove  in  a  rough  condition. 

When  turning  a  symmetrical  cove,  such  as  in  No.  3,  Plate  I,  the 
beginner  will  find  that  it  is  desirable  to  test  the  cove  by  a  gage,  or 
templet;  several  pieces  of  dowel  rod  of  suitable  diameters  will  serve 
the  purpose  very  well. 

DESIGN 

Before  taking  up  our  first  completed  problem,  having  acquired 
the  necessary  skill  in  turning  beads,  coves,  etc.,  we  must  carefully 
consider  the  subject  of  design. 

It  is  too  obvious  to  need  further  mention,  that  the  general 
standard  of  wood-turning  design,  whether  in  school  or  in  the  shop, 
is  far  from  what  it  might  be.  This  lack  of  good  design  is  to  some 


28  ART   AND   EDUCATION   IN  WOOD-TURNING 

extent  due  to  the  fact  that  we  elaborate,  or  display  our  skill  too 
much,  believing  that  wood-turning  is  the  cutting  of  a  mass  of  beads 
and  coves,  all  without  a  meaning. 

The  use  to  which  we  intend  putting  an  article,  will,  to  a  great 
extent,  govern  the  general  outline,  proportion,  etc.  The  character 
of  the  wood,  whether  simple  or  complex  in  grain,  all  helps  to  add 
to,  or  detract  from,  the  design.  A  wood  rich  in  grain  often  needs 
only  a  graceful  outline  to  make  it  beautiful,  the  grain  being  the 
decorative  feature. 

A  good  design  must  have  the  following  qualities,  (a)  simplicity, 
(b)  unity,  (c)  variety,  (d)  harmony  and  (e)  good  proportion. 

Simplicity — Other  things  being  equal,  a  simple  article  is  the 
most  beautiful.  In  working  to  this  end,  we  must  consider  the 
profile — the  general  outline. 

It  must  be  remembered  however,  that  simplicity  can  lead  to 
weakness  in  our  design.  We  must  have  a  certain  amount  of  snap 
and  strength  to  our  work,  not  merely  flowing  lines. 

The  kind  of  line  to  use  is  of  great  importance.  Too  many 
straight  lines  must  be  avoided;  angular  lines  are  ugly.  The  line  of 
the  circle  is  monotonous.  The  line  of  variety  and  grace  only  re- 
mains, and  to  this  end  we  must  work.  Compare  the  line  of  a  circle 
with  that  of  a  hen's  egg.  In  the  latter  we  have  both  grace  and  va- 
riety. 

Unity — By  unity  we  mean  the  holding  together  of  all  the  parts 
to  make  the  whole.  Let  there  be  a  foundation  line;  to  this  all 
other  parts  are  to  be  subordinated.  With  unity  we  get  balance: 
the  balance  of  equal  and  unequal  parts.  The  balance  of  equal  parts 
can  be  shown  by  a  dumb-bell.  Here  we  have  equal  sizes  on  both 
sides,  hence  perfect  balance.  Chair  legs,  candlesticks,  and  similar 
problems  show  unequal  balance.  Here  we  have  a  large  mass  above 
and  a  small  one  below.  In  order  to  obtain  good  balance,  where  many 
parts  are  to  be  considered,  it  is  necessary  to  group  the  parts  and 
consider  unity. 

Variety — The  line,  it  has  been  shown  elsewhere,  may  have 
variety  by  changing  its  direction  and  not  having  the  same  curva- 
ture. The  flowing  line,  as  that  of  a  bead  turning  into  a  cove — a 


DESIGN  29 

compound  curve,  is  continuous  and  often  weak.  In  order  to 
strengthen  such  a  curve,  the  fillet  is  often  used,  Plate  II.  Where  a 
line  comes  to  an  abrupt  end,  and  almost  returns  upon  its  own  direc- 
tion, we  speak  of  it  as  contrasted;  this  should  be  avoided  as  much  as 
possible.  See  the  top  of  the  potato  masher,  Plate  III. 

Variety  in  decoration — When  we  add  beads,  coves  and  fillets, 
we  must  consider  variety.  All  beads  or  all  coves  would  be  tiresome. 
Then,  too,  we  must  change  the  size  of  our  beads  and  coves,  not  mak- 
ing all  the  same  size. 

Harmony — The  design  of  the  object  must  be  in  keeping  with  its 
use,  and  one  part  with  the  other.  A  candlestick,  for  example,  sug- 
gests solemnity,  and  should  be  rather  tall  and  small  in  diameter.  Of 
course,  the  diameter  of  the  top  must  be  sufficient  to  support  the 
socket,  and  the  base  large  enough  to  prevent  the  candlestick  from 
being  top-heavy.  The  base  and  the  shaft  should  have  some  curve  in 
common.  In  turning  a  gavel,  it  would  not  be  advisable  to  turn  a 
number  of  beads  on  the  head,  and  coves  on  the  handle.  One  part 
should  echo  the  other. 

Proportion — Underlying  the  entire  design  we  have  the  problem 
of  proportion,  and  this  to  a  large  extent  must  be  governed  by  com- 
mon sense  and  use.  In  order  to  gain  strength  we  must  naturally 
increase  the  diameter  and  thickness.  This  is  brought  out  to  some 
extent  by  the  napkin  ring.  Since  wood  is  not  as  strong  as  metal, 
our  napkin  ring  must  be  kept  a  little  heavier,  and  so  it  can  be  seen 
with  many  other  problems. 

THE  DARNING  BALL 

Our  first  complete  problem,  combining  all  the  cuts  of  the 
three  preceding  exercises,  is  represented  by  the  darning  ball,  Plate 
II. 

In  working  out  this  problem,  we  not  only  make  use  of  the 
various  cuts  just  mastered,  but  we  also  introduce  the  use  of  sand- 
paper and  polish. 

The  stock  for  the  darning  ball  is  maple,  2^8lfx2^8f/xg'f.  Maple 
is  used  because  it  is  a  light-colored,  tight-grained,  hard  wood,  all 


3o  ART  AND   EDUCATION   IN   WOOD-TURNING 

of  which  requirements  are  essential  in  the  making  of  a  good  darning 
ball. 

Fig.  24  illustrates  the  blocking-out  of  the  wood  so  as  to  properly 
locate  lengths  and  diameters  at  important  points. 

Having  blocked  out  the  work,  turn  the  left-hand  end  of  the 
ball,  then  the  right-hand  end,  thus  clearing  away  enough  wood  so 
that  the  small  bead  and  cove  can  be  turned,  Fig.  25.  Next  the 
tapering  part  of  the  handle  is  shaped,  and  finally  the  rounded  end. 

It  must  be  remembered,  however,  that  this  problem  is  to  be 
sandpapered,  oiled,  and  polished,  therefore  it  is  not  advisable  to 


•TC 

y 

I  BLOCK  OUT  DARNING    BALL 

:o 

M 

.I1                           41 

2i—  J 

~z 

Fig.  24. 


Fig-  25. 


weaken  the  ends  beyond  -HT'  diameter;  until  all  polishing  has  been 
completed. 

The  ends  are  to  be  cut  clean  with  a  knife,  filed,  and  thoroly 
sandpapered,  removing  every  scratch  or  mar.  It  may  be  necessary, 
while  sandpapering,  to  take  off  some  of  the  polish,  but  this  can  easily 
be  refinished  by  hand. 


SANDPAPERING 

All  turning  must  be  completed  before  any  sandpapering  is 
attempted;  otherwise  the  small  particles  of  sand  will  work  their 
way  into  the  pores  of  the  wood,  and  should  it  then  be  necessary 
to  do  any  further  turning,  it  will  be  found  difficult  to  keep  an  edge 
on  the  tool. 

For  most  work,  numbers  1^,^/2,0  and  oo  sandpaper,  used  in  the 
order  given,  will  be  found  to  be  sufficient.  When  the  work  has  been 


DARNING    BALL 


1C 

IxJ 
_4 


Plate  II. 


32  ART  AND   EDUCATION   IN  WOOD-TURNING 

turned,  instead  of  scraped,  No.  y2  will  be  found  to  be  coarse  enough 
and  very  little  sandpapering  will  be  necessary. 

It  is  a  mistake  to  use  too  fine  a  grade  of  paper  at  the  start, 
as  much  time  is  lost  in  getting  all  the  irregularities  out  of  the 
wood.  If  No.  T.y2  sandpaper  is  used  properly  the  wood  can  be 
brought  to  an  even  surface,  all  small  nicks  worked  smooth,  but  it 


Fig.  26.    Sandpapering. 

will  be  left  with  large  scratches  of  the  coarse  sand,  which  in  turn 
should  be  removed  by  the  No.  >£  sandpaper,  and  so  on  with  finer 
sandpaper  until  all  scratches  and  imperfections  have  been  entirely 
worn  out  of  sight. 

Many  a  well  turned  job  is  entirely  ruined  by  the  careless  use 
of  sandpaper.  All  the  character  can  be  worn  from  the  work  by  tak- 
ing the  edges  of!  corners,  fillets,  etc.  It  is  just  as  necessary  to  shape 
a  bead  or  cove  with  sandpaper  as  with  your  skew  or  gouge.  On 
the  other  hand,  it  is  quite  possible  to  improve  your  poor  turning 
by  carefully  sandpapering  each  part  as  a  separate  part,  and  not 
merely  slurring  over  them,  Fig.  26. 

In  working  for  a  good  finish,  the  first  essential  is  to  get  the  sur- 
face of  the  wood  as  nearly  perfect  as  possible,  and  this  fact  can  be 
emphasized  by  trying  the  following  experiment: 

Take  a  piece  of  maple  and  turn  to  a  smooth  form,  sandpaper 
carefully,  and  then,  instead  of  adding  varnish  or  shellac  in  order  to 
obtain  a  gloss,  simply  polish  the  piece  of  maple  mentioned  above  by 
rubbing  in  the  lathe  with  a  smooth  piece  of  soft  wood,  being  care- 


SANDPAPERING 


33 


iul  not  to  cause  too  much  friction  lest  the  wood  become  burnt. 
If  this  is  worked  carefully  a  high  permanent  gloss  will  result. 
This  experiment  will  prove  that  good  finishing  is  very  much  de- 
pendent on  good  sandpapering. 

Where  possible,  it  is  advisable  to  sandpaper  on  the  top  of  the 
turned  piece,  as  this  gives  the  turner  a  better  chance  to  watch  the 
work.  Fig.  27  illustrates  a  quick  method  for  truing  up  a  cylinder. 
A  long  straight  strip  of  cork  or  wood  is  held  under  the  paper; 
the  operator  can  bear  down  with  the  one  hand  and  up  with  the 
other,  giving  twice  the  cutting 
capacity,  and  at  the  same  time 
causing  no  spring  to  the  work. 

When  sandpapering  the  inside 
of  a  box  (and  this  is  doubly  impor- 
tant for  boxes  with  covers  fitting  on 
the  inside),  Plate  XXII,  great  care 
must  be  taken  not  to  allow  the  sand- 
paper to  drag  over  the  edge,  thereby 
wearing  away  the  entire  neck  of  the 
box. 

Small  fillets,  V's,  etc.,  are  often  left  without  any  sandpapering, 
as  it  is  next  to  impossible  to  work  with  paper  on  such  small  surfaces. 


Fig.  27. 


Sandpapering  with  Both 
Hands. 


FINISHING 

Three  steps  are  taken  in  order  to  put  a  finish  on  most  work: 
e.  g.,  (a)  staining,  (b)  filling  and  (c)  varnishing.  The  first  and 
second  of  these  steps,  that  of  staining  and  filling,  are  not  always 
employed.  Sometimes  it  is  desired  to  keep  the  wood  in  its  natural 
color,  and  in  such  cases  the  filler  is  the  first  to  be  applied.  Then, 
again,  close-grained  woods,  such  as  maple,  need  no  filling  of  the 
pores;  such  woods  are  more  often  oiled,  then  polished. 

Staining  work  on  the  lathe  is  quite  the  same  as  for  cabinet 
work.  The  wood  must  be  carefully  sandpapered  and  free  from  all 
grease.  Apply  the  stain  to  the  work  with  a  brush  held  in  the 
right  hand,  while  the  left  hand  gently  revolves  the  lathe,  Fig.  28. 


34 


ART   AND   EDUCATION   IN   WOOD-TURNING 


Do  not  allow  the  lathe  to  work  at  high  speed;  otherwise  the  stain 
will  be  driven  in  all  directions  by  the  centrifugal  force,  instead 

of  soaking  into  the 
wood  as  desired.  All 
stained  work  should 
be  allowed  to  dry 
about  8  or  10  hours ; 
some  stains  require 
a  longer  time.  When 
a  water  or  spirit 
stain  is  used,  it  will 
be  necessary  to 
sandpaper  the  wood 
lightly  after  the 
stain  is  dry.  If  the 
wood  requires  fill- 
ing, fill  with  the 
proper  colored  filler ; 
allow  another  day 


Fig.  28.   Applying  Stain. 


for  drying;  then  pol- 
ish or  varnish. 


By  polishing  we  mean  French  Polishing,  Fig.  29;  that  is,  using 
shellac  as  the  polishing 
agent,  and  boiled  linseed 
oil  as  a  lubricating  agent. 
The  proportion  of  shel- 
lac to  oil  must  be  gov- 
erned by  experience.  It 
is  customary  for  the  pol- 
isher to  have  two  recep- 
tacles, one  for  shellac, 
the  other  for  oil.  A  dab 
of  shellac  is  put  on  the 
polishing  cloth,  one  Fis-  29-  French  Polishing. 

thickness  of  the  cloth  is  folded  over,  and  a  few  drops   of   oil 
added.    The   cloth  is   then  brought  in   contact  with   the  work 


FINISHING 


35 


and  as  the  lathe  revolves,  the  cloth  is  run  back  and  forth  so  as 
to  cover  all  parts  evenly.  If  too  much  shellac  has  been  applied, 
the  cloth  will  stick  or  pull  rather  hard.  On  the  other  hand,  if  too 
much  oil  has  been  added,  the  polish  can  be  rubbed  off  entirely  by 
passing  a  dry  finger  over  the  work  while  the  lathe  is  stationary.  In 


•TO    BLOCK   OUT   INDIAN  CLUB- 

<m 

— 

c 

_  _  -*• 

T 

—  f—  L-*--J 

•  3"—  1-  4  *  3"  

Fig.  30. 

either  case  more  of  one  or  the  other  must  be  added.  Should  the 
polish  be  too  thick  and  look  streaky,  simply  take  the  same  cloth  and 
by  a  little  friction  burn  the  shellac  and  cause  it  to  flow  again  so  that 
it  can  be  run  off  the  work  entirely  or  put  on  in  a  more  even  manner. 

French  polishing  is  by  far  the  quickest  way  of  finishing,  but  does 
not  wear  well  and  on  large  surfaces  is  difficult  to  get  on  evenly. 
For  the  best  finish,  after  having  stained  and  filled  the  wood,  apply 
two  coats  of  thin  shellac,  allowing  12  hours  for  each  to  harden,  and 
then  lightly  sandpaper  each  coat.  For  a  finish  that  is  to  be  rubbed 
to  a  high  gloss,  apply  not  fewer  than  three  coats  of  a  good  hard 
rubbing  varnish,  allowing  three  days  for  each  coat  to  dry,  and  one 
week  for  the  last  one.  Sandpaper  lightly  each  coat.  The  final 
coat  is  rubbed  with  fine  pumice  stone  powder  and  water,  washed 
off,  and  followed  with  rottenstone  powder  and  water,  washed  off 
clean  and  rubbed  with  the  palm  of  the  hand.  This  produces 
the  highest  possible  polish  if  carried  out  carefully.  For  an  egg  shell 
gloss  rub  only  with  pumice  stone  powder  and  crude  oil. 

Varnishing  must  be  done  with  the  greatest  of  care,  in  a  dustless 
room  with  a  temperature  of  about  70  degrees  Fahrenheit.  In  order 
to  insure  an  even  coat,  it  is  advisable  to  flow  the  varnish  on  rather 
heavily,  dabbing  it  into  all  corners;  then  immediately  take  up  the 
superfluous  varnish  by  brushing  out  thoroly  and  wiping  the  brush 
when  heavy  over  the  edge  of  the  cup.  Some  varnishes  require  more 


36  ART  AND   EDUCATION  IN  WOOD-TURNING 

brushing  out  than  others  in  order  to  make  them  lay  evenly;  this 
can  be  learned  only  by  experience. 


THE  POTATO  MASHER 

The  stock  for  the  potato  masher  is  maple,  2 

In  working  out  this  problem  as  with  others,  start  at  the  large 


Fig.  31.   Built  Up  Model 

end  and  work  towards  the  small  end.    See  Fig.  30  for  method  of 
locating  the  various  diameters. 

No  finish  is  ever  to  be  put  on  wooden  kitchen  utensils  other  than 
to  sandpaper  them  thoroly. 


POTATO   MASHER 


37 


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Plate  III. 


3 8  ART  AND   EDUCATION   IN  WOOD-TURNING 

INDIAN  CLUBS 

The  commercial  wood  for  the  Indian  club,  Plate  IV,  is  maple. 
Oak  works  well,  and  so  do  most  hard  woods.  For  those  who  like 
something  a  little  out  of  the  ordinary,  stock  for  a  pair  of  clubs  can 
be  built  up,  using  many  combinations  of  woods,  Fig.  31. 

The  stock  is 


(a)  Rough  to  33V'  in  diameter,  (b)  cut  to  length,  leaving  a 
diameter  of  i  "  at  each  end.  Fig.  30  illustrates  the  method  for  locat- 
ing the  various  diameters  at  the  correct  points,  (c)  Rough  out  the 
shape  with  a  gouge,  then  (d)  fit  to  the  templet  with  a  scraper,  Fig.  32. 
The  templet  rests  on  each  end  of  i  "  diameter.  Sandpaper  and  finish 
according  to  the  wood  used.  (See  Finishing,  page  33.) 

DUMB-BELLS 

As  with  the  Indian  clubs,  there  is  no  special  wood  used  for 
dumb-bells,  Plate  V,  except  that  it  is  necessary  to  have  a  hardwood, 
such  as  maple,  in  order  that  it  may  stand  rough  usage.  The  stock 


Two  methods  may  be  employed  with  equal  success  in  turning 
the  balls  at  each  end.  The  first  method  is  similar  to  that  of  the 
Indian  clubs,  that  is,  by  using  a  templet  cut  to  a  semicircle  and 
resting  it  on  a  i  "  diameter  at  either  side  of  the  ball.  Shape  to  fit  the 
templet.  The  second  method  is  by  geometry,  Fig.  33.  Turn  to 
2^"  in  diameter  and  cut  to  the  same  length,  making  the  section  a 
perfect  square.  Lay  off  an  octagon;  and  so  on,  increasing  the  num- 


INDIAN   CLUB 


39 


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Plate  IV. 


ART  AND   EDUCATION   IN  WOOD-TURNING 


her  of  sides  up  to  64  when  a  sphere  has  almost  been  turned.    See 
Croquet  Ball. 

After  the  balls  have  been  shaped,  turn  the  handle,  sandpaper  and 
polish.  The  ends  are  then  cut  to  about  f§ff  in  diameter.  Saw 
off  all  waste  wood,  trim  up  the  ends  with  a  sloyd  knife,  and  finish 
the  same  as  the  Darning  Ball. 


•TO  BLOCK    OUT   DUMB-BELL- 


Fig.  33- 

SCREWDRIVER  HANDLES 

Almost  any  small  scraps  of  hard  wood  work  up  well  for  the  handle 
of  a  screwdriver,  Plate  VI.  It  will  be  found  that  many  otherwise 
useless  pieces  of  good  wood  can  be  utilized  in  this  way. 

The  small  end  is  again  to  be  at  the  dead  center,  (a)  Turn  to 
the  design,  and  before  sandpapering,  (b)  locate  and  cut  the  fluting, 
(c)  To  lay  out  the  work  for  fluting,  step  the  radius  six  times  around 
the  handle,  and  mark  half  the  width  of  each  fluting  on  both  sides  of 
these  points.  Set  the  surface  gage  (see  Mallet),  and  scribe  the 
necessary  line.  By  this  method  it  is  possible  to  mark  any  shaped 
piece  of  wood,  whether  straight,  tapering,  or  curved,  so  that  the 
fluting  will  be  absolutely  true  and  not  wind  around  the  cylinder. 

Use  a  short  gouge  and  (d)  cut  the  grooves  as  smooth  as  possible. 
Break  off  a  small  piece  of  a  suitable  size  rat-tail  file  and  (e)  clean 
up  all  rough  places;  (f)  follow  this  by  using  sandpaper  wrapped 
around  a  piece  of  dowel  rod.  After  cleaning  up  the  fluting,  (g) 
lightly  sandpaper  the  handle,  (h)  then  fit  the  ferrule  to  the  end, 
forcing  it  on  rather  tightly.  Do  not  polish  in  the  lathe. 

The  end  of  the  shank  of  the  screwdriver  that  is  io  be  forced 
into  the  handle  should  be  square;  therefore  only  an  approximate 


DUMB-BELL 


Plate  V. 


ART   AND   EDUCATION   IN   WOOD-TURNING 

WOOD -TURNING  PROBLEMS 
SCREW  DRIVER  HANDLES 


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TURNING   TOOL  HANDLES 


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44 


ART  AND   EDUCATION   IN   WOOD-TURNING 


hole  can  be  bored,  after  which  it  is  best  to  heat  the  end  and  make  the 
fitting  in  that  way.  To  prevent  the  shank  from  working  loose,  it  is 
best  to  drill  thru  the  ferrule,  wood  and  shank;  then  insert  a  pin. 


Fig.  34.    Boring  a  Mallet  Head. 

For  turning  a  large  number  of  screwdriver  handles  see  Fig.  16. 
The  marker  will  indicate  lengths  and  the  calipering  tool  is  used  for 
obtaining  the  diameters. 


THE  MALLET 

Lignum-vitas  is  the  best  wood  for  a  mallet  head,  Plate  VIII, 
but  in  public  schools  where  only  the  cheaper  grades  of  wood  are 
supplied,  it  is  necessary  to  fall  back  on  good  hard  maple. 

The  turning  of  a  mallet  is  very  simple;  the  only  part  needing 
great  care  and  attention  will  be  the  boring  of  the  hole  in  the 
head  and  then  the  fitting  of  the  handle  to  that  hole,  Fig.  34. 

In  order  that  the  hole  in  the  head  may  be  at  right  angles  to  the 
axis,  and  true  in  every  direction,  it  will  be  necessary  to  locate  this 
hole  with  the  greatest  accuracy. 


THE    MALLET 


45 


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46 


ART   AND   EDUCATION    IN  WOOD-TURNING 


Fig.  35  illustrates  one  method  for  locating  the  hole  in  the  head 
accurately.    While  the  wood  is  in  the  lathe,  and  before  sand- 


Fig.  35.   The  Surface  Gage  to  Locate  the  Center  for  Boring. 

papering,  mark  the  center  line  around  the  head.  The  next  step  will 
be  to  cross  this  line  in  two  places,  so  that  a  line  passing  thru  these 
two  points  will  be  at  right  angles  to  the  axis.  Set  the  surface  gage 

on  the  shoe  of  the  tee-rest,  and  the  point 

of  the  gage  so  as  to  coincide  with  the 
point  of  either  the  live  or  dead  center 
(removing  the  wood,  of  course,  in  order 
to  set  the  gage). 

Place  the  wood  back  in  the  lathe, 
tightening  on  the  hand-wheel  of  the 
tailstock  so  that  the  wood  cannot  turn. 
Hold  the  surface  gage  flat  on  the  shoe 
of  the  tee-rest,  being  careful  not  to  move 
the  adjustments  on  the  gage;  then  mark  the  intersection.  Place 
the  gage  on  the  opposite  side  of  the  head,  not  disturbing  the  posi- 
tion of  the  wood,  and  again  mark  the  intersection.  The  two  inter- 
secting points  obtained  are  the  centers  for  the  holes  to  be  bored. 


THE    MALLET  47 

The  second  method,  Fig.  36,  illustrates  a  circle  drawn  on  paper, 
equal  to  the  diameter  of  the  head  of  the  mallet  at  the  center  line. 
Step  the  radius  around  the  circumference  six  times,  and  any  two 
opposite  points,  as  connecting  with  a  line  passing  thru  the  center  of 
the  circle,  will  be  the  points  to  use.  Cut  the  paper  from  B  to  A  and 
around  the  circle  as  indicated  in  Fig.  36,  and  place  it  over  the  head 
at  the  center  line.  Without  moving  the  paper,  mark  the  inter- 
section of  the  center  line  in  two  places,  C  and  D,  Fig.  36. 

After  having  carefully  located  the  necessary  points,  make  a 
deeper  impression  with  a  pair  of  dividers;  then  sandpaper  and 
finish.  If  a  chuck  is  available  for  boring  in  the  lathe,  place  the 
point  of  the  dead  center  into  one  of  these  holes  (mentioned  above) . 
and  the  drill  into  the  other.  Fasten  the  tailstock  to  the  bed  of  the 
lathe,  and  while  the  left  hand  holds  the  mallet  head,  let  the  right 
hand  turn  the  hand- wheel  and  force  the  wood  against  the  drill,  thus 
boring  the  hole.  Care  must  be  taken  not  to  use  high  speed,  and  not 
to  force  the  hand-wheel  too  hard,  otherwise  the  drill  will  become  very 
hot.  A  metal  drill  works  better  in  the  lathe  than  an  auger  bit. 
When  the  hole  is  almost  thru,  remove  the  dead  center,  butting  the 
head  of  the  mallet  against  the  spindle  where  the  .drill  can  bore  into 
it  without  ruining  the  dead  center  pin. 

By  means  of  a  V  block  and  a  drill  press,  it  is  also  easy  to  bore 
the  hole. 

GAVELS 

In  designing  a  gavel,  Plates  IX  and  X,  and  in  selecting  wood 
for  the  same,  there  are  a  few  requirements  we  have  to  meet.  Since 
a  gavel  is  used  in  somewhat  the  same  manner  as  a  mallet  (in  that 
we  strike  a  blow  with  both),  the  first  essential  will  be  to  use  a  hard 
wood.  This  stands  the  blow  better,  and  hard  woods  being  heavier, 
the  blow  is  more  easily  delivered.  The  wood  must  be  sonorous,  so 
that  sound  is  given  forth.  During  periods  of  excitement,  it  is  often 
necessary  to  use  a  gavel  quickly,  and  little  attention  is  paid  to  where 
the  gavel  strikes;  hence  the  ends  must  be  well  rounded.  To  meet  all 
these  requirements,  a  wood  such  as  rosewood,  ebony,  or  coco- 
bolo  serves  very  well. 


48  ART   AND   EDUCATION   IN  WOOD-TURNING 


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Plate  IX. 


GAVEL 


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Plate  X. 


ART   AND   EDUCATION   IN   WOOD-TURNING 


The  stock  for  the  head  is  2^4 '/X2^'/X4^'/.  (a)  Rough  down  to 
the  largest  diameter,  (b)  cut  to  length,  (leaving  the  same  amount  of 
waste  wood  at  each  end),  (c)  locate  the  center  line  and  (d)  lay  off 
the  work  from  both  sides  of  this  line.  It  is  advisable,  at  the  point  (c), 

to  make  a  small  hole  with 
the  dividers,  so  that  when 
boring  the  hole  for  the  han- 
dle, it  will  be  in  the  exact 
center. 

When  turning  a  cove,  hav- 
ing a  fillet  at  each  side,  it  is 
advisable  to  ignore  the  cove 
entirely  until  the  fillets  are 
cut  clean,  then  work  out  the 
cove. 

Before  cutting  the  work 
loose,  bore  the  hole  for  the 
handle.  This  should  be  done 
in  the  lathe,  the  work  being 
clamped  tightly  between  cen- 
ters, Fig.  37. 

The  handle  should  be 
turned  with  the  small  end  at 
the  dead  center.  All  parts  are 
finished  before  fitting  the 
handle  into  the  head,  so  that  no  oil  from  the  polish  will  reach 
that  part.  On  all  work,  where  one  part  fits  into  another,  always 
cut  the  hole  first,  then  fit  the  other  part  to  that  hole. 

When  all  the  ends  have  been  cleaned  off,  Fig.  38,  glue  the  handle 
into  the  head.  Should  the  handle  fit  rather  loosely,  make  a  saw-kerf 
in  the  end,  about  J^"  down  the  handle,  and  force  a  wedge  into  this 
cut.  This  method  is  often  used  in  joinery. 


Fig.  37.    Boring  a  Gavel  Head. 


THE   ROLLING   PIN 


Fig.  38.    Sawing  off  the  Ends. 


THE  ROLLING  PIN 

The  rolling  pin,  Plate  XI,  like  all  wooden  kitchen  utensils,  is 

made  of  maple,  because  maple  does  not  sliver  easily,  is  hard,  and 

holds  its  shape  fairly  well. 
To  make  it  somewhat 
easier  to  understand,  the 
rolling  pin  will  be  divided 
into  two  parts;  the  shaft 
and  the  handle. 

The  stock  for  the  shaft  is 
2^"x2^"xi2><".  (a)  Cut 
to  2^"  in  diameter;  (b)  cut 
to  length,  leaving  the  waste 
wood  at  each  end  i"  in 
diameter;  (c)  taper  the  ends, 
making  a  cut  from  y&"  back 

to  the  i "  diameter.    After  the  wood  is  thoroly  sandpapered,  (d)  cut 

off  the  waste  wood.   At  each  end,  the  centers  have  left  a  small  hole 

which  locates  the  center  for 

the  holes  to  be  bored. 
Great    care    must    be 

taken  to  bore  the  holes  at 

each  end  absolutely  true, 

otherwise  the  handle  will 

not  work  well  when  glued 

in  place. 

In  order   to   have  the 

hole  of  the  handle  in  the 

exact  center,  bore  the  hole 

first,  and  turn  around  the 

hole.     To  do  this,  turn  a  Fig- 39- 

piece  of  maple  to  fit  the  hole  just  bored,  leaving  about  \Y±'  of  the 

waste  wood  i"  in  diameter  at  one  end,  Fig.  39.  The  i^.-"  part  is  to 

be  5^"  long.    The  reason  for  this  length  will  be  explained  later. 

Glue  l/$"  at  each  end,  Fig.  39.    When  the  glue  has  set,  turn  the 


'TO  BLCKK  OUT  BOLLINQ  PIN  HANDLES- 


STEP  N°1 


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STEP  N°2 


ART   AND   EDUCATION   IN   WOOD-TURNING 


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Tlate  XI. 


UMBRELLA   HJ 


53 


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Plate  XII. 


54 


ART  AND   EDUCATION   IN  WOOD-TURNING 


handle,  being  careful  not  to  turn  the  ends  until  everything  is 
completed.  Sandpaper  carefully,  and  with  an  y%"  chisel,  cut  the  45° 
at  the  one  end;  this  makes  that  end  free.  Out  of  the  remaining 
piece  of  maple,  turn  the  spindle  part  of  the  handle,  fitting  the  1^/2" 
of  the  dead  center  end  to  a  X"  hole.  In  order  to  make  the  curve  of 
both  handle  and  spindle  continuous,  place  the  handle  over  the  spin- 
dle while  turning  the  rounded  end. 


40. 


Household  Articles. 

When  gluing  the  spindle  into  the  shaft,  great  care  must  be 
taken  not  to  allow  any  glue  to  get  into  the  hole  of  the  handle,  and 
not  to  force  the  handle  up  too  tight  against  the  shaft. 


BOWLS 

Bowls  and  solid  trays,  Plate  XIII,  come  under  the  heading  of 
face-plate  work,  and  regardless  of  design,  are  all  worked  out  in  much 
the  same  manner.  However  to  make  the  following  description  a 
little  easier  to  follow,  we  will  take  one  of  the  nut  bowls  as  our  ex- 
ample. 

The  rough  stock  should  be  i2/6"x4^"x4^'/,  dressed  on  one  face. 
(?)  Cut  out  a  4^4"  circle  on  the  band-saw.  If  no  band-saw  is  avail- 


NUT   SETS 


55 


WOQD-TVENWi  PROBLEMS 
NUT  SETS 


Plate  XTII. 


ART   AND    EDUCATION   IN   WOOD-TURNING 


able,  simply  cut  off  the  corners  with  a  handsaw,  (b)  glue  the  dressed 
surface  to  a  piece  of  whitewood  of  about  the  same  diameter,  with  a 
piece  of  note  paper  between.  The  object  of  the  paper  is  to  separate 


\ 


•TEWLtT  IN  Uit  ON- 
OF- 


the  fibers  of  the  waste  wood  from  the  wood  to  be  turned,  so  that  a 
few  light  taps  with  a  chisel  and  mallet  will  separate  the  two  pieces 
when  the  work  has  been  completed. 

After  the  glue  has  set  (use  nothing  but  the  best  grade  of  hot  glue 
on  all  problems);  (c)  screw  the  faceplate  in  place,    (d)  Start  the 
lathe  on  slow  speed,  with  the  tee-rest  parallel  with  the  face  of  the 
work  and  a  little  below  the  center  line.     By  means  of  the  .yi" 
mortising  chisel,  held  horiziontally  and  stand- 
ing on  its  edge,  (e)  cut  in  the  direction  indicated 
in  No.  i,  Fig.  41.    Do  not  cut  the  entire  thick- 
ness, otherwise  the  wood  on  the  opposite  face 
will  split  off.    Merely  cut  off  enough  wood  to 
center  the  work,    (f)  Turn  the  tee-rest  parallel 
with  the  edge,  and  with  a  gouge  clean  off  the 
remaining  wood. 

Having  turned  the  wood  to  the  largest 
possible  diameter,  (g)  face  off  the  surface  with 
a  i"  flat  scraper,  No.  2,  Fig.  41,  working  from  the  center  out,  and 
to  a  thickness  of  i^"  (measuring  from  the  glued  joint). 

(h)  Trace  on  a  scrap  piece  of  paper,  the  inside  outline  of  one-half' 
of  the  bowl,  as  indicated  in  Fig.  42.  (i)  Transfer  this  to  a  piece  of 
cardboard  and  cut  with  a  sharp  knife.  This  pattern  is  known  as  a 
templet,  by  the  aid  of  which  it  is  possible  to  obtain  the  correct 
shape  of  the  inside  of  the  bowl. 


DRAWER    KNOBS   AND    CASTER    CUP 


57 


WOOD-TURNING  PROBLEMS  ' 
DRAWER  KNOBS-0  CASTER  CW 


7 
& 


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Plate  XIV. 


ART   AND    EDUCATION   IN   WOOD-TURNING 


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Plate  XV. 


BATH   ROOM    STOOL 


59 


WOOD-TVB/MQ  PROBLEM 

5ATM  £OOM  5TOOL 


Plate  XVI. 


6o 


ART   AND    EDUCATION   IN   WOOD-TURNING 


With  a  y%"  chisel,  (j)  cut  a  diameter  of  about  i"  and  i^"  deep 
(scant  measurement):  measure  the  depth  as  indicated,  Fig.  43. 
(k)  Hollow  out  the  inside  with  a  round-nose  scraper  to  conform 

with  the  templet.  (1)  Now 
sandpaper  thoroly.  (m)  Shape 
the  outside  with  flat,  skew, 
and  round-nosed  scrapers, 
keeping  a  uniform  thickness, 
Fig.  44.  The  thickness  of  the 
outside  must  be  calipered  with 
the  fingers.  Having  performed 
all  necessary  turning,  (n)  sand- 
paper the  work  thoroly  and 
polish.  (See  Finishing,  page  33 .) 


Fig.  43.    Measuring  the  Depth  of  a  Bowl. 


To  separate  the  bowl  from  the  waste  wood,  place  a  i"  flat 
scraper  in  the  glued  joint  (with  the  bevel  against  the  waste  wood), 
and  tap  gently  with  a  mallet.  Clean  off  the  bottom  and  glue  on  a 


g-  44- 

piece  of  felt.  Since  glue  will  not  adhere  to  oily  surfaces,  and  there 
is  a  great  possibility  of  grease  working  its  way  on  the  bottom  from 
polishing  and  handling,  it  is  better  to  use  shellac.  Put  on  one  coat 
and  allow  it  to  dry.  A  second  coat  is  then  applied,  using  rather 
thick  shellac,  and  when  "tacky, "put  the  felt  in  place.  Trim  off  the 
edge  of  the  felt  with  a  sharp  knife  when  the  shellac  is  dry. 

THE  NAPKIN  RING 

Napkin  rings,  Plate  XVII.  To  bring  into  use  built-up  work,  and 
at  the  same  time  to  make  the  napkin  ring  more  ornamental,  it  is  a 


NAPKIN   RINGS 


61 


G 


J 


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•'     91 


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Plate  X\T[T. 


62 


ART  AND   EDUCATION  IN  WOOD-TURNING 


good  idea  to  glue  up  all  stock  for  this  problem,  Fig.  31.  The  best 
woods  to  use  are  those  which  are  hard  and  have  a  fairly  close 
grain,  such  as  rosewood,  ebony,  cocobolo,  East  India  mahogany, 
etc.  The  utmost  care  must  be  taken  in  planing  up  the  stock,  to 


Fig.  45- 

get  each  piece  absolutely  parallel,  and  where  a  symmetrical  design 
is  used,  pieces  of  the  same  size  should  be  exactly  the  same  in  thick- 


N°4 


Fig.  46. 

ness.    Again,  when  starting  to  turn,  the  exact  center  must  be  lo- 
cated, otherwise  the  work  will  come  out  uneven. 

Fig.  45  illustrates  the  turning  of  a  napkin  ring  on  an  arbor, 
(a)  Bore  a  J/&"  hole  all  the  way  thru  the  blank,  and  at  right  angles 
with  the  stock,  (b)  Turn  a  separate  piece  of  wood  between  centers 
and  about  5"  long,  to  fit  this  hole  snugly,  having  a  very  slight  taper 
at  the  live  center  end.  (c)  Force  the  blank  over  this  arbor  and  turn 
the  design,  (d)  Sandpaper  and  finish.  This  will  leave  entirely  too 
much  wood  around  the  hole.  To  cut  this  to  the  desired  thickness, 
(e)  a  chuck  must  be  turned  to  fit  the  outside  of  the  napkin  ring  very 


THE   NAPKIN   RING 


tightly,  and  should  set  in  about  %" ,  Fig.  46.    (f)  Cut  one  end,  (g) 

sandpaper  and  polish;  then  (h)  rechuck  the  other  end  and  finish. 

When  starting  a  napkin  ring  on  a  screw  chuck,  (a)  bore  a  hole  in 


Fig-  47- 

the  wood  a  little  smaller  than  the  screw,  so  that  when  the  chuck 
is  screwed  in  place,  the  wood  will  not  split,  Fig.  47.    (b)  Turn  the 


Fig.  48.   Face  Plate  —  Bell  Chuck  —  Screw  Chuck. 

blank  to  the  design,  (c)  clean  out  one  end  and  rechuck  the  same  as 
above. 

In  some  schools,  napkin  rings  are  turned  on  a  bell  chuck,  Fig.  48. 
The  wood  is  first  turned  between  centers  to  a  diameter  so  that  one 
end  can  be  driven  into  the  chuck.  Held  by  this  tight  fit,  the 
design  is  turned  and  one  end  hollowed  out  (as  with  the  screw 
chuck),  sandpapered  and  polished.  The  wood,  in  this  case,  must 
be  long  enough  so  that  after  cutting  off  the  napkin  ring,  about 
y^'  will  remain  for  rechucking.  It  will  be  seen  that  in  this  case  the 
rechucking  is  done  from  the  inside,  instead  of  the  outside  as  with 
the  other  two  methods.  The  greatest  care  must  be  taken  to  turn 
the  chuck  to  fit  the  inside  of  the  ring  tight  enough  so  that  it  will 


64  ART   AND    EDUCATION   IN   WOOD-TURNING 


Plate  XVIII. 


BREAD    BOARD 


cQ 

a 


A 

8 


Plate  XIX. 


66 


ART   AND    EDUCATION    IN   WOOD-TURNING 


CQ 


c/0 


r^   ^-5 
ex  CX 


m 


Plate  XX. 


TRAY   AND    FRAME    MOULDINGS 


z 

n~ 

i     :  ••  #    ^ 

«>j«                     G  (Q  «O 
£)       uJ 

oJ<^i 
^^^5 

Plate  XXI. 


68 


ART   AND    EDUCATION   IN   WOOD-TURNING 


TO  TVEN  A  Box 


take  hold,  and  yet  not  be  a  hair's  breadth  too  large,  otherwise  the 
napkin  ring  will  be  split  apart  when  forced  in  place.  This  method  is 
not  recommended  by  the  author,  as  too  often  a  napkin  ring  is  split; 
besides  it  taking  about  50%  more  valuable  wood,  whereas  in  the 

other  cases,  whitewood  or  common 

pine  is  used  for  a  chuck,  and  the 
same  chuck,  if  made  out  of  thick 
stock  and  fairly  large  in  diameter, 
can  be  used  many  times  for  various 
problems. 

PICTURE  FRAMES 

The  method  for  turning  a  picture 
frame,  Plate  XXI,  is  quite  the  same 
as  a  napkin  ring.  In  most  cases, 
the  screw-chuck  method  will  be 
found  to  work  satisfactorily,  altho 
it  is  often  advisable  to  glue  the  wood 
from  which  the  frame  is  to  be  made 
to  a  piece  of  scrap  wood,  with  paper 
between.  Turn  the  front  and  side 
of  the  frame;  when  finished  knock 

the  wood  apart  with  a  few  light  taps  of  a  chisel  and  mallet.  The 
same  scrap  wood  can  then  be  used  for  rechucking.  Big  frames 
should  be  made  of  segments.  (See  Serving  Tray,  page  84  ) 


IM51DE:  Of-  H><>XFlNK5HfcT> 


BOXES 

There  are  two  general  types  of  boxes  to  consider:  those  having 
the  cover  fitting  on  the  inside,  Plate  XXII,  and  those  having  the 
cover  fitting  on  the  outside,  Plate  XXIII.  Most  boxes  are  of  the 
latter  type.  There  is,  however,  little  difference  in  the  turning. 

All  boxes  should  be  turned  standing  on  end  grain,  (a)  Rough 
off  the  stock  to  approximately  the  largest  diameter,  (b)  True  up  the 
end.  (c)  Now  hollow  out  the  inside  of  the  cover,  Fig.  49,  No.  i,  to 


BOXES 


69 


7£ 


00 

sd 


Oi 


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L 


n 


Ml 

SBI 

^  ^"  uJ 

O  <~  *r~ 

1-z^ 


*?• 


\J 

T 

1 


LJ 


Plate  XXII. 


yo  ART  AND   EDUCATION  IN  WOOD-TURNING 

fit  a  templet,  and  (d)  turn  as  much  of  the  cover  as  can  conveniently 
be  handled;  (e)  sandpaper  and  polish.  If  the  cover  fits  from  the 
outside,  (f)  cut  the  collar  of  the  box  to  fit  the  cover  snugly,  (g) 
Rechuck  the  cover  on  this  collar  and  (h)  finish  the  top.  When  this 
has  been  done  (i)  remove  the  cover  and  (j)  hollow  out  the  inside  of 
the  box  to  fit  a  templet  (See  Bowls),  (k)  Now  sandpaper  thoroly. 
(!)  Turn  the  outside  of  the  box  to  conform  with  the  inside,  easing 
upon  the  collar  slightly,  (m)  sandpaper  and  finish,  (n)  Cut  the  waste 
wood  at  the  bottom  to  about  YZ'  in  diameter,  and  slightly  concave. 
The  bottom  is  now  ready  to  be  cleaned  with  a  knife  and  finished  off 
with  felt  (See  Bowls). 

When  the  cover  fits  from  the  inside,  great  care  must  be  taken 
when  sandpapering  the  inside,  not  to  drag  the  paper  over  the  top, 
otherwise  the  cover  will  not  fit. 

It  must  be  remembered  in  getting  out  stock  for  boxes,  to  allow 
at  least  J^"  between  the  cover  and  box  proper  in  order  that  there 
will  be  room  for  cutting  off. 

COMBINATION  TURNING 

CANDLESTICKS 

Candlesticks,  electroliers  and  all  problems  requiring  both 
spindle  and  face-plate  turning,  come  under  this  heading. 

Our  first  example  will  be  a  candlestick,  Plates  XXIV,  XXV,  and 
XXVI,  made  of  some  hard  wood,  such  as  mahogany,  walnut,  oak, 
ebony,  cocobolo,  cherry,  birds-eye,  curly  or  plain  maple,  etc. 

The  Base — (a)  Cut  a  piece  of  stock  of  sufficient  thickness  to 
allow  y&"  for  facing  upon  both  sides,  and  }^"  larger  in  diameter 
than  the  design,  (b)  Screw  this  stock  on  a  face-plate,  using  short 
screws  and  keeping  them  near  the  outside  edge,  so  that  no  hole 
will  remain  when  the  work  has  been  completed. 

We  are  now  ready  to  start  on  slow  speed,  and  (c)  cut  in  from 
the  face  along  the  edge  to  the  required  diameter,  (d)  Clean  up  the 
face  until  true,  and  (e)  cut  the  opening  which  is  to  hold  the  lead. 
Note  that  the  under  side  of  the  base  is  turned  first,  (f)  Shape  the 
edge  up  to  the  last  fillet  (where  there  is  a  fillet) ,  (g)  sandpaper  and 
finish.  (See  Finishing,  page  33.) 


GIRL'S   DRESSER   SET 


PROBLEMS 
DRE55ER  SET 


TALCUM  POWDER  BOX 


PVFf  SOX 


HAIR   RECEIVER 


5V/TTON 


Plate  XXIII. 


72  ART   AND    EDUCATION   IN   WOOD-TURNING 

Now  (h)  remove  the  wood  from  the  face-plate,  and  rechuck.  In 
turning  the  design  shown  in  Plate  XXIV,  (i)  cut  the  chuck  %" 
deep,  the  height  of  the  edge,  and  true  up  the  face  to  the  required 
thickness,  (k)  boring  the  hole  in  the  top,  Fig.  50,  with  a  Y*  Forstner 


Fig.  50.    Boring  Face-plate  Work. 

bit.  Since  a  Forstner  bit  has  no  spur  to  center  it  when  boring,  it  is 
advisable  to  cut  in  a  short  distance  with  an  }<Q'  chisel  to  make  sure 
of  hitting  the  center,  (See  Lathe  Boring,  page  78.)  (1)  Shape  the  re- 
maining part  of  the  case,  (m)  sandpaper  and  finish.  When  polishing 
the  base,  great  care  must  be  taken  not  to  allow  any  oil  to  work  its 
way  into  the  hole  on  top,  otherwise  the  glue  will  not  adhere.  On 
account  of  danger  of  splitting  the  base,  bore  the  hole  first. 

The  Shaft — (a)  Cut  the  rough  stock  y&"  longer  and  y&"  larger 
in  section  than  the  design.  To  make  sure  of  having  the  hole  in 
the  center  (on  the  top  of  the  shaft),  (b)  bore  a  ^i"  hole  first  and 
turn  around  the  hole.  Bore  i^i"  deep  to  allow  y?>"  for  cleaning  up 
the  end,  and  (c)  turn  a  plug  between  centers  keeping  the  live  center 


CANDLESTICK 


7.3 


WOOD-TURNING  PROBLEM 
CANDLESTICK. 


Plate  XXIV. 


74 


ART   AND   EDUCATION   IN   WOOD-TURNING 


WOOD-TVRMNQ  PROBLEM 
CANDLESTICK  • 


Plate  XXV. 


ELECTROLIER    OR    CANDLESTICK 


75 


WOOD-TURNIP  PROBLEM 
ELECTROLIER  »*  CANDLESTICK 


NOTE 

TttIS  DESIGN  15  IN 
TENDED  FOR  A  ONE 
LIQhT  ELECTROLIER 
OR  LAWE  CANDLESTICK 


Plate  XXVI. 


76  ART  AND   EDUCATION  IN  WOOD-TURNING 

impressions  for  future  turning,  (d)  Now  glue  this  plug  in  place  as 
indicated,  Fig.  51,  and  when  the  glue  has  set,  (e)  the  shaft  can  be 
turned,  (f)  After  all  polishing  has  been  completed,  (g)  fit  the  dowel 
into  the  base. 

(a)  Place  the  two  parts  of  the  candlestick  together,  and  turn 
the  bottom  side  up.   Having  done  this,  (b)  pour  enough  molten  lead 

into  the  base  to  just  come  flush, 

and  (c)  cool  immediately  from 
•TO  7VRN  CANDLESTICK-        the  under  side  with  a  blower> 

^'QUJED  -^  a  m>Sn  polish  has  been  put 

^  on  the  base,  it  will  be  advisable 


T 


SEPARATE  PLUS 


to  drop  a  small  quantity  of 
mercury  into  the  lead — this  alloy 
will  melt  at  a  lower  temperature 
and  therefore  will  not  blister  the 


Hg.  si. 

polish. 

When  the  lead  has  cooled  off,  (d)  glue  the  base  and  shaft 
together,  (e)  finishing  the  bottom  with  felt.  (See  Bowls,  page  54.) 

LAMP  STANDARD 

Where  it  is  desirable  to  have  the  wiring  of  the  lamp  standard 
start  at  the  base  and  go  thru  the  shaft,  it  becomes  necessary  to  work 
out  a  hole  about  y§?  in  diameter  the  entire  length  of  the  shaft, 
joining  the  base  at  a  suitable  place.  If  good  facilities  are  at  hand  for 
lathe  boring,  this  will  be  one  way  of  handling  the  problem.  Bore  the 
hole  thru  the  rough  stock,  and  plug  both  ends  for  turning.  Where, 
however,  the  electrolier  is  too  long,  as  in  the  case  with  a  floor  lamp, 
or  where  no  available  chuck  is  at  hand  for  lathe  boring,  it  will  be 
found  that  the  shaft  will  have  to  be  grooved  out  of  two  pieces,  half 
on  each  piece,  glued  together,  plugged  and  turned. 

The  working  out  of  the  remaining  part  of  the  problem  is  much 
the  same  as  that  of  a  candlestick. 


77 


WOOD-TURNING  PROBLEM 
LAMP  STANDARD 


QAS 


/MOTE 

"DIMENSIONS  S1VEN  ON 
CUT  ARE  FOR  TWO 
LIQhT  ELECTROLIER  ~ 
FOR  ONE  LIQHT  5U55TI- 
TUTE  TME  FOLLOW  I M^ 
/AEA5URE/AENT5. 


ELECTRIC 


d    4-  '  4    32    /6 

MAKE  TOP  TO  FIT 

SOCKET -SAME  A5 
CANPLE5TlCh. 


Plate  XX\TI. 


•TO  LAY  OUT  SEGMENTS  • 


78  ART   AND    EDUCATION   IN   WOOD-TURNING 

LATHE  BORING 

For  accuracy,  speed  and  ease,  there  is  no  better  way  of  boring  a 

hole  in  wood,  where  the  equipment  is  limited,  than  by  using  the  lathe. 

To  bore  a  mallet  head,  (a)  start  the  hole  at  the  bench  so  as  to 

center  the  drill;  the  point  of  the  dead  center  takes  care  of  the  other 

end.     Having   located    the    correct 

distance  the  tailstock  should  be 
from  the  drill,  to  allow  for  the  size 
of  the  wood,  (b)  fasten  the  tailstock 
firmly,  but  leave  the  spindle  free. 
Working  at  a  medium  speed,  (c) 
force  the  wood  against  the  drill  by 
turning  on  the  hand- wheel.  When 
the  hole  is  almost  thru,  (d)  re- 
move the  dead  center  and  (e)  butt 
the  spindle  against  the  wood  to  allow  the  drill  to  go  all  the  way 
thru  without  injury  to  the  center.  This  method  may  be  used  on  end 
grain  boring,  with  such  problems  as  the  rolling  pin  handle  and 
electrolier.  Where  a  hole  is  to  be  bored  longer  than  the  length  of  the 
drill,  reverse  the  ends  and  bore  half  way  from  each  end.  It  will  be 
found  difficult  to  clean  long  holes  of  the  shavings,  and  therefore  it  is 
not  advisable  to  force  the  work  too  much;  besides,  the  drill  will  be- 
come very  hot,  and  must  be  cooled  frequently  by  dipping  in  water. 
For  face-plate  boring,  where  there  is  danger  of  splitting  the 
wood,  it  is  advisable  to  use  a  Forstner  bit,  as  the  screw  on  an  auger 
bit  is  very  apt  to  force  the  wood  apart,  and  there  is  a  great  tendency 
for  the  bit  to  be  pulled  into  the  wood  too  rapidly.  In  order  to  center 
a  Forstner  bit,  turn  in  a  short  distance  with  a  chisel.  Fig.  50  shows 
a  center  bit  in  use  which  works  equally ^as  well  as  the  Forstner  bit. 


Fig.  52. 


SEGMENT  WORK 

In  order  to  turn  large  diameters  so  that  there  shall  be  practically 
no  warping  or  changing  of  shape,  and  at  the  same  time  no  sacrifice 
cf  strength,  it  will  be  necessary  to  use  segments. 


FLOWER   HOLDER 


79 


W30D-TU8N1NS  PROBLEM 
FLOWER  MOLDIR 


TEST   TUBE 


Plate  XXVIII. 


8o 


ART   AND    EDUCATION   IN   WOOD-TURNING 


From  Fig.  52  it  will  be  noticed  that  the  segments  run  with  the 
grain  of  the  wood,  this,  of  course,  being  of  the  greatest  importance, 
as  otherwise  no  strength  would  be  gained. 

The  theory  of  segment  work  is  similar  to  that  of  a  butt  joint 
with  a  cleat  fastened  on  each  side.  This  form  of  joint  is  used  every 

day  in  carpentry  work.  By 
"breaking  the  joints,"  as  it 
is  called,  we  have  all  parts 
of  equal  strength,  and  when 
thoroly  glued  together,  the 
work  is  stronger  than  a 
solid  piece.  As  will  be 
shown,  an  odd  number  of 
courses  always  proves  most 
efficient. 

There  can  be  no  set 
rule  governing  the  correct 
number  of  segments  for 
each  course;  small  circles 
are  usually  made  of  three 
segments,  whereas  for 
about  a  12"  diameter,  six 
segments  will  be  necessary, 
and  so  on,  always  remem- 
bering that  to  avoid  end 
grain,  the  segments  will 
need  to  be  smaller.  For  the  problems  given  in  this  book,  six  seg- 
ments will  suffice. 

In  starting  segment  work,  it  will  first  be  necessary  (a)  to  true 
up  a  piece  of  good  white  pine  to  the  desired  diameter,  (b)  Onto 
this  pine  the  segments  are  glued  and  held  in  place  until  all  turning 
and  finishing  have  been  completed.  For  six  segments,  (c)  step  the 
radius  around  the  circumference  six  times  and  join  these  points 
with  lines  to  the  center.  The  lines  just  drawn  will  indicate  the 
joints  for  the  first,  third  and  fifth  courses,  and  so  on  according  to 
the  number  of  courses,  (d)  Divide  each  space  in  half,  and  again 


Fig.  53.    Segment  Work  Being  Glued. 


SMOKING   STAND 


81 


W00D-TVBNIA1Q  PC05LEM 
SAOKl/%  5TAAID 


Plate  XXIX. 


82 


ART   AND   EDUCATION   IN   WOOD-TURNING 


THE  SIXTH  -SEGMENT 


nzr 

MARK  A  LINE. 


rig.  54. 


draw  lines  to  the  center  to  indicate  the  joints  for  the  second,  fourth 
and  sixth  courses,  etc. 

Fig.  53  illustrates  a  good  method  for  holding  the  work  while 
gluing  the  segments  in  place.  A  piece  of  about  2"  square  stock  is 
turned  at  one  end  to  fit  the  thread  part  of  the  face-plate,  leaving 

the  square  part  for  clamping  in  the  vise. 
The  greatest  of  care  must  be  exercised 
to  clamp  the  segments  flat,  making  a 
tight  joint  all  around.  To  do  this,  the 
shoulder  spindle  of  the  handscrew  is 
tightened  first,  throwing  the  jaws  slightly 
out  of  parallel,  when  a  last  turn  or  two 
on  the  end  spindle  will  bring  them  to 
their  correct  position. 

(a)  The  joints  of  segment  No.  i 
(segment  No.  i  is  the  first  segment  to 
be  put  in  place)  are  cut  to  correspond 
with  the  lines  drawn  on  the  pine 
stock  and  glued  in  place,  cleaning  away  all  glue  from  the  end 
grain,  (b)  Fit  segment  No.  2  to  make  a  tight  joint  with  No.  i, 
at  one  end,  and  to  correspond  with  the  line  on  the  other  end. 
(c)  Now  size  one  end  of  No.  i  and  No.  2  with 
the  glue.  After  allowing  the  sizing  to  set  for  a 
few  minutes,  (d)  glue  No.  2  in  place,  forcing 
the  joints  together  until  absolutely  tight,  (e) 
Clean  away  the  glue  again  on  the  other  end  of 
No.  2,  and  so  on  until  the  last  segment  is  fitted. 
Fig.  54  illustrates  the  quickest  and  best  method 
for  getting  a  tight  fit  on  No.  6  at  both  ends. 
After  the  necessary  marks  have  been  made, 
trim  to  the  outside  of  the  lines;  if  this  is  properly  done,  a  tight 
joint  will  result. 

Allow  not  less  than  three  hours  for  the  glue  to  set  before  at- 
tempting to  turn  the  work.  Working  on  slow  speed,  (a)  face  up  the 
first  course  of  segments  to  the  desired  thickness  and  (b)  clean  up  the 
outside  and  inside  diameters  just  a  little,  (c)  Now  mark  out  the 


•TO  CUT  REBATE- 


COLLAR   AND    BUTTON    BOX 


i- 


O         LLJ 
<         V? 


Plate  XXX. 


84  ART   AND    EDUCATION   IN   WOOD-TURNING 

second  course  and  continue  as  with  the  first.   When  all  the  courses 
have  been  glued  in  place,  (d)  do  all  necessary  turning  and  finishing. 

SERVING  TRAY 

Since  a  serving  tray,  Plate  XXI,  is  nothing  more  than  a  large 
picture  frame  with  two  rebates  on  the  back," Fig.  55,  it  will  be  neces- 
sary to  rechuck  the  work.  On  account  of  the  large  diameter,  and  to 
avoid  scratching  the  polish,  it  will  be  advisable  to  rechuck  from  the 
inside. 

The  first  rebate  will  hold  the  glass  and  designed  material  for 
the  bottom  of  the  tray.  (The  latter  is  stretched  over  cardboard.) 
The  second  rebate  is  for  the  wooden  bottom  which  is  screwed  in 
place,  flush  with  the  bottom  of  the  molding.  The  handles  are  fitted 
to  come  flush  and  are  firmly  fastened  from  the  under  side  of  the 
mold.  The  entire  bottom  is  covered  with  felt,  previously  stretched 
over  cardboard,  with  the  edges  glued  on  the  reverse  side.  Tack  this 
felt  covered  cardboard  to  the  tray  mold  with  2  oz.  gimp  tacks. 
Four  small  rubber  bumpers  are  screwed  in  place,  which  completes 
the  work. 

By  putting  the  tray  together  in  this  manner,  should  the  glass 
break,  it  is  a  simple  matter  to  take  the  necessary  screws  out  and 
lift  a  few  tacks  without  destroying  any  part  of  the  tray. 

COLLAR  BOX 

£a)  Glue  three  pieces  of  stock  together,  Plate  XXX,  each  a 
little  over  y&"  in  thickness,  with  the  grain  of  the  center  piece  running 
at  right  angles  to  the  other  two.  When  the  glue  has  set,  (b)  cut  out 
a  circle  approximately  7^"  in  diameter,  which  in  turn  (c)  is  glued  to 
a  pine  core  for  turning.  (d)  Lay  out  for  the  segments  and  (e)  build 
up  to  the  top  of  the  box  proper.  The  segments  should  be  about  YZ" 
wide  to  start  with,  to  allow  for  turning. 

The  cover  is  built  up  in  like  manner  and  turned  first  on  the  in- 
side, then  rechucked.  (See  Boxes,  page  68.)  If  a  course  of  inlay  is  to 
be  worked  into  the  problem,  it  will  first  be  necessary  to  glue  up  the 


CHEESE   AND    CRACKER    DISH 


fir, 


CO 


a 


u 


Plate  XXXT. 


86  ART   AND   EDUCATION   IN  WOOD-TURNING 

veneer  for  the  inlay  of  suitable  width  and  length  so  that  when  dry 
the  six  segments  can  be  cut  from  same.  These  segments  are  handled 
in  exactly  the  same  manner  as  the  others. 

BUTTON  BOX 

The  button  box  in  the  center,  Plate  XXX,  is  turned  separately 
on  a  screw  chuck,  leaving  %"  dowel  on  the  bottom  for  gluing  in 
place. 

After  all  work  has  been  completed,  the  felt  is  glued  on  the 
bottom,  as  in  the  case  of  the  nut  bowls. 

As  collar  boxes  are  subjected  to  a  great  deal  of  wear,  it  is 
advisable  to  finish  the  work  with  three  coats  of  good  varnish  and 
rub  to  an  egg  shell  gloss  on  the  lathe. 

CHEESE  AND  CRACKER  DISH 

The  working  out  of  this  problem,  Plate  XXXI,  is  merely  a 
repetition  of  the  foregoing  problems.  The  stand  is  turned  like  the 
base  of  a  candlestick,  the  top  cup  the  same  as  the  button  box  of  the 
above  problem,  and  the  dish  is  the  same  as  the  collar  box,  except 
that  it  is  rechucked  to  clean  up  the  bottom  side.  To  make  the  dish 
more  beautiful,  it  is  a  good  idea  to  build  up  the  bottom  of  segments, 
all  coming  to  a  point,  instead  of  building  it  of  three  pieces  of  wood 
as  explained  above. 

SEWING  SET 

Like  some  of  the  other  problems,  the  sewing  set  or  stand,  Plate 
XXXII,  is  simply  a  combination  of  several  preceding  problems. 
The  base  is  turned  in  the  same  manner  as  that  of  the  candlesticks; 
that  is,  the  flat  disk  being  turned  from  both  sides.  The  pin  cushion 
holder  is  nothing  more  than  a  bowl  with  a  hole  in  the  center,  which 
in  turning  fits  snugly  around  the  spool  spindle. 

In  gluing  this  problem  together,  be  sure  not  to  glue  the  flat 
disk,  as  it  would  then  be  impossible  to  revolve  it.  The  brass  dowels 
are  }^n  in  diameter  and  set  in  place  with  Major's  cement.  The  pin- 
cushion is  made  with  a  hole  thru  the  center. 


SEWING   SET 


Plate  XXXII. 


88  ART   AND    EDUCATION   IN   WOOD-TURNING 

NUT  SET 

A  nut  set  may  include  six  small  bowls  of  any  one  of  the  designs 
in  Plate  XIII  and  one  large  bowl  of  the  same  design  as  indicated  in 
Plate  XXXIII. 

The  large  bowl  differs  from  the  small  ones  only  in  that  it  has  a 
block  left  in  the  center  to  hold  the  upright  and  the  nut  picks. 

As  with  the  candlesticks,  it  is  advisable  to  bore  the  hole  in 
the  base  first,  and  then  fit  the  shaft  to  that  hole. 

Because  of  the  cross-lap  joint  on  the  spindle  work,  it  will  be 
necessary,  on  the  upright  piece,  to  turn  to  fa"  diameter  at  the  joint, 
step  around  the  cylinder  to  make  four  equal  sides,  and  pare  off  the 
wood  with  a  sharp  chisel,  thus  producing  the  joint  part  which  is  fa" 
square.  On  the  cross  piece  it  is  possible  to  start  with  square  stock 
fa",  and  turn  on  each  side  of  the  center.  When  all  sandpapering 
and  turning  have  been  completed,  lay  out  the  cross-lap  joint,  cut  to 
fit  snugly,  and  glue  together.  The  ends  will  have  to  be  rounded  up 
by  hand  and  the  entire  problem  finished  at  one  time  when  the  work 
has  been  assembled. 

Some  people  prefer  to  crack  the  nuts  with  a  hammer  made  espe- 
cially for  that  purpose;  in  that  case,  the  upright  portion  is  omitted, 
the  block  covered  with  heavy  metal,  and  a  small  hammer  turned 
with  a  metal  head  to  be  used  in  place  of  the  nut-cracker. 

When  nut-crackers  are  used,  it  is  more  in  keeping  to  turn  down 
the  metal  handles  to  about  }/£'  in  diameter  and  turn  wooden 
handles  to  be  fitted  over  them. 


CLOCK  CASING 

When  time  permits,  and  a  fine  job  is  wanted,  the  clock  casing, 
Plate  XXXIV,  is  included  under  the  heading  of  segment  work.  It  is 
handled  in  the  same  manner  as  the  serving  trays,  except  that,  being 
of  smaller  diameter,  four  segments  are  used  instead  of  six. 

After  building  up  the  segments  to  the  proper  height,  turn  the 
cylinder  to  3^"  in  diameter,  hollow  out  the  inside,  sandpaper  and 
finish.  (See  Finishing,  page  33.)  Now  rechuck  and  turn  the  mold 


NUT  BOlVL 


WOOD -TURNING  PROBLEM 
MUT  BOWL 


Plate  XXXIII. 


ART  AND   EDUCATION   IN  WOOD-TURNING 


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TEA   WAGON   WHEEL 


W00D-TV£/M<3  PR05LEM 
TEA  WAGCW  WHEEL 


FULL   51ZE     SECTION   TMl^OUQM 
OF-  TW6  PIECES 


Plate  XXXV. 


92  ART  AND   EDUCATION   IN  WOOD-TURNING 

on  the  front.  The  cover  is  turned  on  the  face  and  rechucked,  after 
which  the  knob  and  two  legs  are  turned  between  centers. 

The  cover  is  hung  with  a  small  brass  hinge,  and  the  knob  glued 
in  place.  Bore  the  hole  for  the  knob  with  a  Forstner  bit,  and  bore 
the  holes  for  the  legs  with  an  auger  bit. 

Where  the  problem  is  turned  from  a  solid  piece  of  wood,  the 


56.   The  Croquet  Set. 

grain  should  run  with  the  length;  in  other  words,  the  face  will 
show  end  grain. 

On  account  of  shrinkage,  it  will  be  necessary  to  make  the  inside 
diameter  a  little  large,  so  that  when  the  wood  contracts,  it  will 
not  bind  around  the  clock  and  hold  it  fast.  There  is  also  danger 
of  checking,  should  the  wood  shrink  considerably. 

THE  TEA  WAGON  WHEEL 

The  tea  wagon  wheel  presents  no  new  problem  from  those  hav- 
ing to  do  with  segment  and  spindle  work  except  in  the  making  of  the 
hub.  From  Plate  XXXV  it  will  be  seen  that  the  hub  is  turned  in 


CROQUET   SET 


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Plate  XXXVI. 


94 


ART  AND   EDUCATION   IN   WOOD-TURNING 


two  pieces.  This  is  done  for  the  reason  that  the  spokes  can  be  set 
in  the  rim,  the  lower  portion  of  the  hub  set  in  place  and  the  upper 
part  fitted  over  that  to  make  a  complete  wheel. 

After  the  rim  has  been  built  up  of  segments  and  turned,  holes 
are  bored  on  the  inside  for  the  spokes;  the  hub  is  now  clamped  to- 
gether in  a  vise,  and  holes  to  receive  spokes  bored  in  it.  After  this 


Fig.  57.    Back  Rest  Used  on  a  Bed  Post. 

has  been  done  it  is  taken  apart  and  the  entire  mass  glued  together. 
Great  care,  however,  must  be  taken  in  gluing  this  problem  to  block 
up  the  spokes  and  rim  from  the  under  side  to  come  level  with  the 
hub  so  that  the  spokes  can  be  brought  in  line. 


CROQUET  SET 

For  a  group  problem,  nothing  works  out  so  well  and  has  more  real 
educational  value  than  the  croquet  set.  Plate  XXXVI  and  Fig.  56. 

The  Mallet — As  with  other  problems  worked  in  school,  the  price 
of  material  governs  the  kind  to  be  used.  For  this  reason  hard  maple 
will  be  chosen,  altho  boxwood,  lignum  vitae  and  rosewood  are 
better  for  the  head.  Ash  or  hickory  is  satisfactory  for  the  handle. 


CROQUET   SET 


95 


The  principles  involved  in  turning  a  croquet  mallet  are  almost 
identical  with  those  of  a  manual  training  mallet,  Plate  VIII,  the  only 


Fig.  58.   Turning  with 


pporting  the  Work  with  the  Other. 


difference  being  found  in  turning  so  long  a  handle.  Fig.  57  illus- 
trates a  back  rest  in  use.  To  work  this  out  successfully,  first 
rough  off  in  the  center  enough  wood  so  that  the  support  of  the 
back  rest  can  be  brought 
in  close  contact  with  the 
handle.  The  diameter  at 
this  place  should  be  as  large 
as  possible  and  the  support 
can  either  be  a  semi-circle  to 
correspond  in  diameter,  or  a 
block  with  a  cut  of  90°,  the 
sides  in  the  latter  case  act- 
ing as  tangents  to  the  cyl- 
inder. Now  fasten  all  ad- 
justments on  the  back  rest 


Fig.  =59.   The  Sand  Wheel  Used  to  True  Up  the 
End  of  a  Mallet  Head. 


firmly  and  grease  the  handle  at  the  point  of  contact  with  a  little 
tallow.  Turn  on  both  sides  of  this  rest,  starting  at  the  headstock  and 
working  to  the  dead  center.  After  doing  this,  remove  the  back 
rest  and  clean  up  the  remaining  wood.  All  such  turning  must  be 


ART   AND   EDUCATION   IN  WOOD-TURNING 


done  at  slow  speed.   Fig.  58  shows  a  method  of  supporting  the  work 
with  one  hand  while  turning  with  the  other. 

Fig.  27  illustrates  a  quick  and  safe  method  for  sandpapering 
long  and  weak  spindle  work.  With  sandpaper  on  each  block,  it  is 
possible  to  work  with  great  pressure,  one  hand  supporting  the  strain 
on  the  other.  The  blocks  should  be  of  sufficient  length  to  joint  the 


•TO  BLOCK  OUT  CfcOQVET  BALL- 


Ut 


Fig.  Oo. 

wood,  working  all  small  hollows  and  irregularities  out  of  the 
cylinder.  Fig.  59  shows  how  a  sand  wheel  may  be  used  to  advantage 
in  truing  up  the  ends  of  a  mallet  head. 

The  Ball— It  will  be  noticed  in  Fig.  60  that  we  first  turn  a  cylin- 
der of  3^"  in  diameter;  then  locate  the  center,  and  measure  i^" 
on  each  side  of  this  line  (a  cross  section  thru  the  axis  forms  a  perfect 
square;  we  intend,  as  it  were,  to  inscribe  an  imaginary  circle  in  this 
square).  Our  next  step  will  be  to  cut  so  as  to  make  the  square 
section  octagonal.  Having  reached  this  point  we  now  cut  so  as  to 
make  the  section  a  1 6-sided  figure;  and  so  on  until  we  attain  64 
sides,  when  we  have  almost  a  round  surface.  Trim  off  the  corne  -s 


CROQUET   SET 


97 


and  sandpaper  thoroly.  It  will  be  observed  that  we  do  not  cut  the 
waste  wood  at  either  end  below  $4," ,  leaving  the  final  cutting  to  be 
done  with  a  knife  and  cleaned  up  with  a  file  and  sandpaper.  If 


Fig.  61.   Illustrating  Correlation  in  Advanced  Work. — Note  the  Turned  Legs  on  the 
Martha  Washington  Sewing  Cabinet  and  Drawer  Knobs  and  Bed  Problem. 

properly  finished  by  hand  no  rechucking  will  be  necessary.  On 
account  of  wood  shrinking  in  one  direction  only,  it  will  be  advisable 
to  cut  the  end  grain  of  the  ball  about  ^"  less  in  diameter  than  the 
width;  when  the  wood  has  dried  out  thoroly,  the  ball  will  be  as 
round  as  it  is  possible  to  turn  one. 


98  ART   AND   EDUCATION   IN   WOOD-TURNING 

It  will,  therefore,  be  seen  that  we  turn  a  ball  by  increasing 
the  number  of  sides  of  a  polyhedron.  By  diminishing  each  side  in 
size,  we  approach  a  sphere  for  a  limit.  To  succeed  in  getting  a  good 
round  ball,  it  must  therefore  be  remembered  that  the  greatest  care 
be  taken  to  mark  off  the  work  accurately,  and  cut  to  the  line.  Each 
flat  surface  cut  is  a  tangent  to  the  imaginary  sphere. 

Before  cleaning  off  the  center  line,  cut  a  line  y&"  on  each  side 
of  it  with  the  toe  of  the  skew.  This  band  is  made  for  a  guide  in 
painting  the  color  on  the  ball. 

The  Stake — No  instructions  need  be  given  on  this  part  of  the 
problem  as  it  is  simple  spindle  work.  The  lines  are  cut,  as  with  the 
ball,  to  locate  the  bands  of  colors. 

When  all  turning  is  completed,  and  the  mallet  glued  together, 
cover  all  parts  thoroly  with  linseed  oil.  Allow  one  day  for  drying, 
and  give  it  two  coats  of  white  shellac.  Lightly  sandpaper  each 
coat,  and  finish  with  two  coats  of  spar  varnish. 

LONG-PIECE  TURNING 

THE   FOUR-POST  BED 

The  stock  for  the  posts,  Plate  XXXVII,  should  be  mahogany, 
joined  true  to  2^"  x  2J/&" ',  so  as  to  work  out  the  square  part,  and 
also  to  make  it  easier  to  turn. 

Great  care  must  be  exercised  in  centering  the  ends  so  as  to  show 
no  uneven  margin  around  the  square  part,  when  the  post  has  been 
turned. 

Start  to  round  up  the  stock  in  that  part  of  the  post  where  the 
foot  spindle  is  to  join,  Fig.  61 ;  work  the  back  rest  in  place  and  turn 
each  half  separately,  Fig.  57.  When  all  turning  and  sandpapering 
on  these  two  parts  is  complete,  remove  the  back  rest  and  finish  the 
remaining  part,  Fig.  58. 

The  turning  of  the  foot  spindle  is  identical  with  that  of  the 
posts. 


FOUR    POST    BED 


99 


WOOD-TURNING  PB0E41N5 
TOW   POST  BED 


12.  IMCHE.S 


12.  INCHES 


•THE.  POST- 


Plate  XXXVII. 


ioo  ART    AND 


IN   WOOD-TURNING 


W00D-TV£AIM3   PROBLEM 
FLOORLAMP 

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Plate  XXXVIH. 

FLOOR    LAMP 


PROBLEM 
FLOOR.  LA/AP 


Plate  XXXIX. 


102  ART  AND   EDUCATION   IN  WOOD-TURNING 

THE  FLOOR  LAMP 

Where  the  floor  lamp,  Plates  XXXVIII  and  XXXIX,  is  to  be 
finished  with  stain,  varnish,  etc.,  mahogany,  walnut  or  oak  stock 
should  be  used.  When  a  gold  finish  is  desired,  clear  white  pine 
serves  very  well. 

The  stock  should  be  made  up  of  two  pieces,  with  a  groove  in 
each  half  to  make  a  hole  for  the  wiring.  Before  gluing  this  stock  to- 
gether, it  is  a  good  idea  to  run  a  few  drops  of  oil  in  the  groove  so  that 
the  glue  can  readily  be  driven  out  when  the  lamp  has  been  com- 
pleted. This  groove  must  be  plugged  while  turning. 

When  the  shaft  is  to  be  fluted,  lay  out  for  the  correct  number 
of  flutes,  marking  each  flute  with  the  surface  gage;  see  mallet 
head,  Fig.  35.  Rough  out  the  grooves  with  a  suitable  gouge,  smooth 
up  even  with  a  wooden  round  plane,  run  a  rat-tail  file  up  and  down 
a  few  times  to  clean  the  rough  places,  and  then  finish  with  a  piece 
of  sandpaper  wrapped  around  a  dowel  of  proper  diameter. 

No  new  problem  is  presented  by  the  base,  and  therefore  no 
further  mention  will  be  made  as  to  the  method  of  procedure. 

WOODS  USED  IN  TURNING 

It  is  possible  to  turn  any  wood  on  the  lathe,  provided  the  wood 
is  firm  enough  to  hold  together.  All  sorts  of  odds  and  ends,  other- 
wise useless  on  account  of  knots  and  gnarly  places,  are  pleasing  when 
turned.  Plates  XIV  and  XVII. 

For  the  classroom,  maple  will  probably  be  used  for  most  turning 
as  it  adapts  itself  well  for  thin  turning,  is  hard,  takes  a  polish 
easily,  can  be  stained  in  many  beautiful  ways,  holds  its  shape  fairly 
well  and  is  reasonable  in  price.  Oak  is  also  a  good  wood,  but  on 
account  of  the  porous  grain,  does  not  lend  itself  so  well  to  all  prob- 
lems. 

Where  price  of  material  is  a  secondary  consideration,  the  fol- 
lowing list  of  woods  will  be  found  to  be  all  that  is  necessary  to 
turn  any  problem,  making  it  both  serviceable  and  beautiful. 

Maple — plain,  curly  and  birds-eye. 

Walnut — white,  black,  French  and  Circassian. 


DON'TS  103 

Oak — quarter-sawed  white  and  red. 

Cherry. 

Sycamore — quarter-sawed. 

Mahogany — bay  wood,  Mexican,  East  Indian  and  African. 

Ebony — gray,  black. 

Cocobolo — Panama,  Nicaragua. 

Rosewood — A  f  rican . 

Snakewood. 

Lignum- vita?. 

Myrtlewood. 

Boxwood. 

Holly. 

Satinwood. 


DON'TS 

A  few  Don'ts  are  well  worth  remembering  to  help  in  avoiding 
both  mistakes  and  accidents: 

Don't  start  your  lathe  unless  all  adjustments  are  fastened; 
otherwise  the  work  may  be  thrown  out. 

Don't  leave  the  lathe  running  when  no  one  is  working  at  it. 

Don't  start  any  work  on  high  speed;  rough  the  corners  on  slow 
speed  first. 

Don't  turn  long,  thin  spindle  work  on  high  speed;  it  will  spring 
too  much. 

Don't  stop  your  spindle  work  or  feel  of  its  smoothness  by  hold- 
ing your  fingers  near  the  tee-rest,  as  the  motion  of  the  wood  is 
liable  to  draw  your  fingers  or  hand  between  the  rest  and  the  wood, 
causing  injury. 

Don't  work  your  lathe  on  high  speed  while  rechucking;  there  is 
danger  of  the  work  being  thrown  out  of  the  chuck. 

Don't  stop  your  lathe  without  also  stopping  your  work;  other- 
wise when  the  lathe  has  come  to  a  standstill,  there  is  danger  of  the 
work  winding  its  way  off.  This  applies  to  face-plate  work. 

Don't  apply  stain,  filler,  etc.,  while  the  lathe  is  in  motion;  the 
centrifugal  force  will  drive  the  moisture  out  of  the  wood  instead  of 
allowing  it  to  penetrate. 

Don't  use  cotton  waste  for  polishing,  or  applying  stain  to  your 
work,  as  the  short  threads  may  catch  on  to  the  fibers  and  draw  the 
waste  out  of  your  hands,  often  causing  injury. 


io4  ART  AND   EDUCATION  IN  WOOD-TURNING 

Don't  remove  your  wood  from  the  lathe  without  first  marking 
the  center  and  the  end  of  the  wood  so  that  both  may  be  returned  to 
the  same  place  at  a  future  time. 

Don't  cut  your  work  free  before  being  sure  that  all  turning  and 
finishing  has  been  completed. 

And  finally,  don't  go  ahead  on  any  work  if  you  are  not  sure  what 
to  do,  or  how  to  do  it. 

SHOP  DISCIPLINE 

With  the  exception  of  the  machine  shop,  there  is  probably  no 
shop  in  school  where  the  discipline  should  be  more  carefully  watched 
than  in  wood-turning.  In  the  first  place  it  is  always  more  or  less 
dangerous  to  work  around  machinery,  and  where  we  believe  in 
Safety  First,  each  student  should  be  compelled  to  remain  at  his 
own  lathe  unless  otherwise  engaged.  Permitting  a  reasonable  amount 
of  talking  about  the  work  in  question  is  a  good  idea  as  one  student 
gains  knowledge  from  another,  and  it  often  saves  the  less  apt  student 
from  accidents  and  mistakes  by  having  suggestions  made  at  the 
right  time. 

Secondly,  if  students  are  permitted  to  move  about  the  room 
without  a  good  reason,  there  is  danger  of  one  boy  pushing  another 
and  ruining  an  otherwise  good  piece  of  work.  When  the  order  is 
given  to  shut  off  the  lathes,  it  must  be  obeyed  at  once,  and  it  is 
advisable  to  do  this,  should  anything  go  wrong  with  the  work  or  the 
machines.  The  work  is  not  to  be  removed  from  the  lathe  more  often 
than  necessary,  the  instructor  going  to  the  lathe  to  inspect  it  rather 
than  the  student  bringing  the  work  to  him. 

Ample  time  is  to  be  given  at  the  end  of  each  period  for  cleaning 
the  lathes  and  putting  all  tools  in  their  correct  places.  It  is  not 
enough  to  brush  off  the  machines  with  a  counter  brush,  but  it  is 
advisable  to  remove  the  grease,  stains,  dirt,  etc.,  from  all  comers, 
and  at  the  same  time  keep  the  lathes  shining  as  they  should.  Kero- 
sene and  waste  will  be  found  to  be  the  quickest  and  best  method  of 
accomplishing  this.  A  metal  receptacle  is  hung  at  each  machine  to 
contain  the  waste. 


SHOP   DISCIPLINE 


All  tools  should  be  numbered  to  correspond  with  a  similar  num- 
ber on  the  lathe,  and  it  is  important  that  each  boy  put  the  correct 
tools  at  his  lathe,  thus  making  it  easy  to  check  up  on  missing  or 

broken  tools. 

Each  week  one  student  is  to  be 
appointed,  for  a  given  length  of  time, 
to  straighten  out  the  general  tool 
cabinet  in  the  rear  of  the  room,  Fig. 
i.  This  boy  should  see  that  all  stain 
cans  are  closed,  everything  put  in 
order,  and  the  sandpaper  box  kept 
filled.  A  mark  is  to  be  given  for  this 
tool  work  and  at  least  five  minutes  ex- 
tra tune  for  attending  to  everything. 
In  the  bench  each  boy  has  a 
locker  to  contain  all  unfinished  work, 
also  his  juniper.  Pieces  of  unfinished 
work  too  large  for  this  are  kept  in  a 
special  locker,  one  of  which  is  put 
aside  for  each  class. 

Ratings — Fig.  62  illustrates  a  rack 
for  the  individual  cards  of  the  stu- 
dents, arranged  in  alphabetical  order. 
As  indicated  by  Fig.  63  each  card 
will  contain  all  the  necessary  infor- 
mation needed  about  each  boy.  His 
name  (the  last  name  being  written 
first),  his  home,  room  number,  and  a 
space  for  each  problem.  When  a  boy  starts  a  job,  he  puts  down  the 
name  of  the  problem  and  the  date  of  starting.  At  the  time  his 
work  has  been  passed  upon  and  a  rating  given,  he  puts  down  the 
date  of  completion.  In  this  way  each  boy  knows  where  he  stands 
and  the  instructor  is  better  able  to  judge  in  the  future  how  long 
it  requires  for  the  average  student  to  do  a  certain  problem.  If  at 
any  time  there  is  a  question  about  a  piece  of  work,  the  number 
on  the  card  will  indicate  at  what  locker  it  may  be  found. 


Fig.  62.    Card  Rack. 


io6 


ART  AND   EDUCATION  IN  WOOD-TURNING 


At  the  end  of  every  month,  a  line  is  drawn  under  the  last 
figure,  indicating  where  the  next  month  starts.  The  final  rating  of 
each  month  is  kept  in  a  separate  book  for  this  purpose. 

As  a  part  of  the  training  and  at  the  same  time  to  keep  up  the 
condition  of  the  tools,  each  boy  is  assigned,  at  the  end  of  the  term, 

the  task  of  grinding  and  sharp- 
ening certain   tools,  for  which 


CARD- 


NAMt 

DRAWER  N«>    46' 

LAT/ifc    N<?     Z 


HR.3I2 


ti 


work  he  is  rated. 


Fig.  63. 


THE  EXHIBIT 

There  is  great  satisfaction 
to  both  student  and  instructor, 
after  having  worked  along  a  cer- 
tain course  for  several  months, 
to  be  able  to  actually  see  what 
has  been  accomplished  and  to 
compare  the  work  of  one  student  with  that  of  another. 

In  addition  to  this  the  exhibit  gives  the  student  a  goal  to  work 
for,  and  in  the  prospective  student  it  stirs  up  enthusiasm  and  a 
desire  to  do  the  best  possible  work. 

The  manner  in  which  the  models  are  displayed  is  almost  as  im- 
portant as  the  quality  of  the  work.  Too  often  the  mistake  is  made 
of  trying  to  exhibit  a  mass  of  work  rather 
than  a  few  choice  models.  When  the  show 
case  is  crowded,  the  visitor's  mind  is  un- 
able to  concentrate  on  any  one  object,  hence 
there  is  no  lasting  impression  made.  It  is 
well  to  bear  in  mind  how  frequently  we  find, 
in  the  better  shops,  simply  one  or  two  care- 


Fig.  65. 


fully  selected  articles  displayed.  By  isolating  an  object,  we  have 
full  power  to  judge  of  its  merits,  with  nothing  to  add  to,  or  detract 
from  its  qualities.  When  objects  are  grouped  together,  it  is  always 
advisable  to  mass  them  according  to  color  so  as  to  have  harmony. 
Again,  such  models  as  household  articles  would  not  look  well  with 
polished  models. 


THE    EXHIBIT 


107 


Fig.  64.    Small  Group  Arranged  for  Exhibition. 


joS  ART  AND   EDUCATION   IN  WOOD-TURNING 

Unless  an  attendant  is  always  on  guard,  to  see  that  no  object  is 
stolen  or  handled,  it  will  be  essential  to  have  all  work  in  a  show  case, 
and  for  wood-turning,  a  vertical  case  with  a  gray  or  any  neutral 
colored  back,  glass  shelves  and  glass  on  the  front  and  two  sides,  will 
be  found  most  satisfactory.  Where,  however,  the  work  is  displayed 
on  tables,  it  will  add  very  much  to  the  exhibit  to  first  cover  the 
tables  with  burlap  and  use  small  boxes  covered  with  like  material 
to  help  in  the  grouping  of  the  work  and  to  relieve  the  flat  appearance, 
see  frontispiece.  When  the  space  permits,  it  will  be  found  helpful  to 
string  a  rope  a  little  way  in  front  of  the  tables  to  keep  the  visit- 
ors the  proper  distance  from  the  models. 

Neatly  lettered  cards,  similar  to  those  shown  on  the  illustra- 
tions, will  help  in  answering  many  questions,  besides  adding  to  the 
general  appearance.  The  old  English  text  script  is  most  pleasing, 
the  first  letter  of  each  word  being  capitalized  in  red  ink.  By  bending 
an  ordinary  hair  pin  as  indicated  in  Fig.  65,  a  quick  and  inexpensive 
tripod  can  be  made  to  hold  the  cards. 


INDEX 


Back  rest 94 

Turning  with 94  98 

Balls 96.  97, 98 

Bed  posts .     98 

Stock 98 

Turning 98 

Back  rest    .      .      98 

Boring .  .     72 

Lathe     72,  78 

Gavels 50 

Mallet  head 40.  46,  47 

Bowls 54 

Stock 54 

Gluing 56 

Turning 54,56,60 

Templet      56 

Finishing 60 

Nut  set 86 

Boxes 68 

General  types 68 

Method  of  turning 68.  70 

Fitting  the  cover 70 

Collar  box. 84 

Button  box  for  collar  box 86 

Calipers  .    22 

Setting 22 

Candle  sticks 70 

Material 70 

The  base 70 

The  shaft 72 

Turning 70  72 ,  76 

Plugging  the  end 76 

Gluing  base  and  shaft  together ...     76 

Cheese  and  cracker  dish 86 

Method  of  turning 86 

Chucks 63 

Bell 63 

Screw       63 

Clock  casing 88,92 

Turning 88.  92 

Shrinkage  of  wood. .  .    92 

Collar  box 84 

Building  up      84,86 

Inlay .  .     .        ' 84,  86 

Button  box 86 

Combination  turning 70 

Candle  sticks 70 

Lamp  standard 76 

Croquet  Set  94 

Mallet      .          94  95 

Balls,  blocking  out 96.  97 


Croquet  Set,  Turning 95.  96, 98 

Sandpapering 96 

Stake 98 

Finishing  set 98 

Darning  ball 29 

Stock 29 

Blocking  out 30 

Polishing  and  sandpapering 30 

Design 27 

Lack  of 27,  28 

Governed  by  material  and  use  of 

object 28 

Necessary  qualities 28,  29 

Dont's 103   104 

Dumb-bells 38 

Stock 38 

Two  methods  of  turning 38,  40 

Blocking 40 

Exhibit 10,  106 

School 10 

Grouping  and  arrangement 12. 106 

Correlation  work 97 

Display 106.  ioS 

Lettered  show  card  holder 10  > 

Finishing 33 

Applying  stain 33, 34 

French  polishing 34  35 

Varnishing 35. 36 

Gage 22 

Use  of 22 

Gavel 47 

Material  used  in  making 47-5° 

Design  47 

Boring  a  hole  in  head  for  handle.  .  .     50 

Turning  the  handle 50 

Putting  together 50 

Gouge 19 

Roughing  off 19" 

Turning  coves 27 

Grinding  and  sharpening 14, 15, 16 

See  Tools 12 

Handles,  screwdriver 40,  42 

Material  used 40 

Method  of  procedure 40,  44 

Indian  clubs 35.38,30 

Material 38 

Blocking  out 35 

Templet  in  use   38 

Instruction  model  board 23 

Lamp  standard 76 

Grooving  out  center  hole 76 


109 


no 


INDEX 


Lamp  standard,  Floor  lamp 102 

Stock  used 102 

Fluting  standard 102 

Finishing 102 

Lathe  boring 78 

Boring  holes 78 

Face-plate  boring 78 

Long  piece  turning 98 

Four-post  bed 98 

Mallet 44 

Material  used 44 

Two  methods  of   boring   hole  in 

head 40  46,47 

Removing  from  lathe 47 

Napkin  rings. 60 

Material  used 62 

Planing  stock 62 

Turning  on  arbor 62 

Re-chucking 62  63 

Screw  chuck  work 63 

Bell  chuck  turning 63  68 

Nut  set 88 

Design  of 88 

Assembling  and  finishing 88 

See  Bowls 54 

Parting  tool  and  calipers 20,  21 

Use  of 20,21 

Turner's  sizer 20,  21,  22 

Obtaining  diameters 21 

Working  freely  with  calipers 21 

Accurate  setting  of  calipers 22 

Picture  frame 68 

Gluing 68 

Segments 68 

Potato  masher 36 

Material  used ". 36 

Method  of  procedure 36 

Locating  diameters 36 

Finishing 36 

Rebate '. 82 

Cutting 82 

Rolling  pin 51 

Material  used 51 

Shaft  and  handles 51 

Blocking  handles 51 

Turning 51,  54 

Gluing  together 54 

•Sandpapering 30  32  33 

Quality  to  use 30  32,33 

Obtaining  a  good  finish 32 

Spindle  work 33 

End  grain  work 95 

Segment  work 78 

Laying  out 78 


Segment  work,  when  to  use  segments  78 

Gluing  up 80,  82 

Theory  of 80 

Number  of  segments  used 80 

The  sixth  or  last  segment 82 

Turning 82,84 

Sewing  set 86 

Turning ; 86 

Gluing  together 86 

Shop: ii 

Equipment 1 1 , 13 , 14 

Plan  arrangement u  12 

Discipline 104, 105 

System 105, 106 

Skew  chisel  for  smoothing  cylinders 

_  •  •  • 22,23 

Position 22 

Cutting  off 24 

Stock 23 

Turning 23 

Model  board 23 

Skew  chisel  for  V's  and  beads 24 

Method  of  procedure 24  26 

Position  of  tools 24.  26 

To  insure  symmetry  and  correct 
diameter 26 

Spindle  turning 17 

Starting 17 

Re-centering 1718 

Placing  in  lathe 18, 19 

Position  at  lathe 19 

Roughing  off 20 

Long  turning 95,  98 

Tools 12 

Equipment  of  each  lathe 13 

Various  kinds  of  tools 13 

Equipment  of  each  bench 13 

Grinding  and  sharpening 14,  15, 

16,  17 

Use  of  parting  tool 20  21 

Use  of  turner's  sizer 20  21,  22 

Use  of  gage 22 

Use  of  skew  chisel 22,  23,  24,  26 

Contents  of  tool  rack 13 

Trays,  serving 84 

First  and  second  rebates 84 

Finishing  the  bottom 84 

Wheels 92 

For  tea  wagon 92 ,  94 

Making  of  hub 92,  94 

Method  of  building  up .     94 

Method  of  gluing 94 

Woods  used  in  turning 102 

Varieties  of  wood 102, 103 


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